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Which crown'd him Poet first, then Poets' King.
For, though his line of life went soone about,
The Workes of William Shakespeare, containing all his Comedies, Histories, and Tragedies : Truely set forth, according to their first ORIGINALL.
Paccuvius, Accius, him of Cordova dead,
Thames, That so did take Eliza and our James ! But stay, I see thee in the Hemisphere Advanc'd, and made a Constellation there! Shine forth, thou Starre of Poets, and with rage Or influence, chide or cheere the drooping Stage ; Which, since thy flight fro hence, hath mourn'd
like night, And despaires day, but for thy Volumes light.
The Names of the Principall Actors in all these Playes.
William Ecclestone. Henry Condell.
Joseph Taylor. William Slye.
Robert Benfield. Richard Cowly.
Robert Goughe. John Lowine.
Richard Robinson. Samuell Crosse.
John Shancke. Alexander Cooke. John Rice.
A Catalogue of the severall Comedies, Histories, and
Upon the Lines and Life of the Famous
Scenicke Poet, Master WILLIAM SHAKESPEARE. THOSE hands which you so clapt, go now and
wring, You Britaines brave; for done are Shakespeare's
dayes : His dayes are done, that made the dainty Playes Which make the Globe of heav'n and earth to
ring. Dry'de is that veine, dry'd is the Thespian Spring, Turn'd all to teares, and Phæbus clouds his rayes : That corps, that coffin, now besticke those bayes,
The Life and Death of King John.
Them in their lively colours, just extent. The Tragedy of Coriolanus.
To out-run hasty Time, retrive the fates, Titus Andronicus.
Rowle backe the heavens, blow ope the iron gates Romeo and Juliet.
Of Death and Lethe, where (confused) lye Timon of Athens.
Great heapes of ruinous mortalitie. The Life and Death of Julius Caesar.
In that deepe duskie dungeon to discerne The Tragedy of Macbeth.
A royal Ghost from Churles ; By art to learne The Tragedy of Hamlet.
The Physiognomie of shades, and give King Lear.
Them suddaine birth, wondring how oft they live Othello, the Moore of Venice.
What story coldly tells, what Poets faine Anthony and Cleopater.
At second hand, and picture without braine, Cymbeline King of Britaine.
Senselesse and soullesse showes. To give a Stage
and new Scene of the world
Them unto us, or us to them had hurld: ADDITIONAL COMMENDATORY POEMS
To raise our auncient Soveraignes from their herse, PREFIXED TO THE FOLIO EDITION OF 1632. Make Kings his subjects; by exchanging verse
Enlive their pale trunkes, that the present age Upon the Effigies of my worthy Friend,
Joyes in their joy, and trembles at their rage : the Author, Master William Shakespeare,
Yet so to temper passion, that our eares
Take pleasure in their paine : And eyes in teares and his Workes.
Both weepe and smile : fearefull at plots so sad, SPECTATOR, this Life's Shaddow is ; To see
Then, laughing at our feare ; abus’d, and glad The truer image and a livelier he,
To be abus'd; affected with that truth Turne Reader. But, observe his Comicke vaine, Which we perceive is false ; pleas'd in that ruth Laugh, and proceed next to a Tragicke straine, At which we start ; and by elaborate play Then weep, So when thou find'st two contraries,
Tortur'd and tickled; by a crablike way Two different passions from thy rapt soule rise,
Time past made pastime, and in ugly sort Say, (who alone effect such wonders could)
Disgorging up his ravaine for our sportRare Shake-speare to the life thou dost behold.
While the Plebeian Impe, from lofty throne, Creates and rules a world, and workes upon
Mankind by secret engines ; Now to move
A chilling pitty, then a rigorous love:
To strike up and stroake down, both joy and ire;
To steere tħ' affections; and by heavenly fire Waarneede my Shakespeare for his honour'd bones
Mould us anew.
Stolne from ourselvesThe labour of an Age in piled stones,
This, and much more which cannot bee express'd Or that his hallow'd Reliques should be hid
But by himselfe, his tongue, and his own brest, Under a star-ypointing Pyramid ?
Was Shakespeare's freehold; which his cunning Dear Sonne of Memory, great Heire of Fame,
braine What needst thou such dull witness of thy Name ?
Improv'd by favour of the nine-fold traine, Thou in our wonder and astonishment
The buskind Muse, the Commicke Queene, the Hast built thyselfe a lasting Monument:
grand For whilst, to th'shame of slow-endevouring Art,
And lowder tone of Clio; nimble hand, Thy easie numbers flow, and that each heart •
And nimbler foote of the melodious paire, Hath from the leaves of thy unvalued a Booke
The silver-voyced Lady; the most faire Those Delphicke Lines with deep Impression tooke; Calliope, whose speaking silence daunts, Then thou, our fancy of herself bereaving,
And she whose prayse the heavenly body chants. Dost make us Marble with too much conceiving;
These jointly woo'd him, envying one another, And, so Sepulcher'd, in such pompe dost lie,
(Obey'd by all as Spouse, but lov'd as brother), That Kings for such a Tombe would wish to die. And wrought a curious robe of sable grave,
Fresh greene, and pleasant yellow, red most brave,
And constant blew, rich purple, guiltlesse white, On Worthy Master Shakespeare and his Poems.
The lowly Russet, and the Scarlet bright;
Branch'd and embroidred like the painted Spring, A MIND reflecting ages past, whose cleere
Each leafe match'd with a flower, and each string And equall surface can make things appeare Of golden wire, each line of silke; there run Distant a Thousand yeares, and represent
Italian workes whose thred the Sisters spun;
* Troilus and Cressida although not found in this list, is yet inserted in the collection. From this circumstance, and because the play has only one leaf paged, the figures of which, 79 and 80, do not correspond, any more than the signatures, with the preceding and following pages, Farmer inferred that the insertion of Troilus and Cressida was an after-thought of Heming and Condell. Its omission from the Catalogue may be accounted for by the supposition that the folio was printed off
before the player editors had purchased the right of publishing it from Bonian and Whalley, who brought out the quarto impression in 1609.
b These famous lines are Milton's.
c The folio reads part, an obvious misprint for “heart," the word found in the edition of Milton's Minor Poems, 1645.
d- unvalued-) Inestimable.
And there did sing, or seeme to sing, the choyce
Now, when they could no longer him enjoy,
In a losse volume, but more strongly bound, Shakespeare shall breathe and speak, with Laurell
crown'd Which never fades. Fed with Ambrosian meate In a well-lyned vesture, rich and neate." So with this robe they cloath him, bid him
weare it, For time shall never staine, nor envy teare it. The friendly admirer of his Endowments,
I. M. S.*
* The author of this magnificent tribute to the genius of Shakespeare is unknown By some writers it has been ascribed to Milton; by others to Jasper Mayne ; Mr. Boaden conjectured it was from the pen of George Chapman; and the Rev. Joseph
Hunter suggests the probability that the writer was Richard James, author of a poem called Iter Lancastrense, and that the initials I.M. S. represented IaMes.
ADDENDA AND CORRIGENDA.
VOL. I. INTRODUCTION TO “THE Two GENTLEMEN OF VERONA."
P. 1. "- a work very popular in Spain towards the end of the seventeenth century." Read: "sixteenth century."
I would now read, hesls, with Mr. Sidney Walker, instead of behests.
Ibid. “ Arm'd in arguments ;-Read: “Armed in arguments ; &c.”
Ibid. note (e). It meant I now suspect, deeply in love, applied to a love-sick person. In this sense it occurs in the excellent old comedy of “Roister Doister,” Act I. Sc. 2.
P. 91. “ Above this world : adding thereto, morever." Read : moreover.
COMEDY OF ERRORS.
P. 120, note (a). See also note (b) Vol. III. p. 62.
P. 121, note (f). But to carry out this metaphor, serious hours, should be several hours. The integrity of the allusion is destroyed by serious. I suspect, however, the corruption lies in the word common.
P. 124, note (b). So also in Ben Jonson, "Sejanus," Act V. Sc. 4:
“ Cut down, Drusus, that upright elm ; wither'd his vine." P. 129. Sing, syren," —Read : “Sing, siren."
P. 136 “ With his mace." It ought to have been men. tioned that the sergeants carried a staff or small mace in their hands. See * The Example,” by Shirley, Act III. Sc. 1.
LOVE'S LABOUR'S LOST.
At Christmas I no more desire a rose,
But like of each thing that in season grows." “Shows" here is a manifest misprint. I would read :
“ – a snow on May's new-fangled wreath.” P. 53, note (a). Add, after “very small game" :-But Steevens was evidently unconscious of its being a proverbial expression. It occurs in Whetstone's « Promos and Cassandra," Part I. Act III. Sc. 6:
" A holie hood makes not a Frier devoute
He will playe at small game, or he sitte out.” Ibid, note (b).
" Mr. Collier's old annotator proposes garrulity;'
Read : Mr. Collier's annotator proposes garrulity, which he borrowed no doubt from Theobald, who in 1729, suggested it to Warburton. See Nichols's Illustrations, Vol. II. p. 317.
P. 64, note (b). Add :-Belly-doublet is in fact nonsense. The doublets were made some without stuffing-thin bellied-and some bombasted out:-"Certain I am, there never was any kind of apparel ever invented, that could more disproportion the body of man, than these doublets with great bellies hanging down, and stuffed," &c. &c.— STUBBES.
Ibid. note (c). Add:-Mr. Collier's annotator reads, “By my pain of observation," a reading first suggested by Theobald in 1729. Nichols's Illustrations, Vol. II. p. 320. P. 67. “ This senior-junior (4) giant-dwarf.” Dele (4).
P. 80. “- prisons up,"—Read: with the old editions : poisons up, and, in corroboration, see Act V. Sc. 2:
“If this, or more than this, I would deny,
To flatter up these powers of mine with rest,
The sudden hand of death close up mine eye :" And, stronger still, the following from King John, Act IV. Sc. 3:
“Put but a little water in a spoon,
And it shall be, as all the ocean,
Enough to stifle such a villain up."
He her Endymion, she his silver moon,
And make the music of the spheres stand still." P. 83, note (c). “ – and Mr. Dyce says nothing can be more evident than that Skakespeare so wrote,” &c. Read : and Mr. Dyce says, “ Nothing can be more evident than that Shakespeare wrote,” &c.
P. 84, note (e). In this note, strike out the clause, “ Hence the equivoque, which was sometimes in allusion to snaf for the nose, and sometimes to the snuff of a candle." P. 85. “And shape his service wholly to my behests;
And make him proud to make me proud that
THE TAMING OF THE SAREW. P. 227, note (d). Another instance may be added from Taylor, the Water Poet's, “Anagrams and Sonnets,” fol. 1630:
“ He that's a mizer all the yeere beside
Will revell now, and for no cost will spare,
Let's eate and drinke, and cast away all care." P. 228, note (a). Add :-By “Brach Merriman,-the poor cur is emboss'd," &c. is meant, Couple Merriman with a female hound,—the poor cur is, &c. So in the next line, " and couple Clowder with the deep-mouth'd brach."
P. 229, note (a). “Sinclo to this line. Sinclo," &c. Read : “Sinklo to this line. Sinklo," &c.
P. 233. 1-vis, it is not half way to her heart. Dele the hyphen.
P. 239. "My mind presumes, for his own good, and yours.”. Mr. Collier's annotator, adopting a suggestion of Theobald's, (see Nichols's Illustrations, Vol. II. p. 334,) reads, - for his own good, and ours."
P. 246. “In cypress chests my arras, counterpoints," &c. --Read: arras counterpoints," &c.
P. 264. “What/ up and down, carv'd like an apple tart?” Read: “What up and down, carv'd like an apple tart!”
P. 266, note (c). I am now partly of opinion that “expect" here means, attend, pay attention, and that the passage should be pointed thus, -"I cannot tell. Expect ! they are busied,” &c. The word occurs with this sense apparently in Jonson's Masque of “Time Vindicated."
“Hark! it is Love begins to Time. Expect. [Music]."
P. 272, note (a). Perhaps, after all, the old text is right. but the two words have been inadvertently made into one “therefore, sir, as surance," i.e. as proof.
P. 273. “We three are married, but you two are sped."
Of sped, in this place, the commentators can make no sense. It perhaps means promised. See " A Proper Sonet, Intituled, Maid will you Marrie,” in “the Gorgeous Gallery of Gallant Inventions,” part ii. p. 48:
“Why then you will not wed me !
No sure, Sir, I have sped me." The lover then goes on in answer to say,
" It is a woman's honestie
To keep her promise faithfully."
P. 293, note (a). I now think the original text is possibly correct, and that the thought running through the passage and which sufficiently explains it, is, that there is peculiar hardship in Arthur suffering, not only for the sins of the grandmother, (which might be regarded as the common lot," the canon of the law,”) but by the instrumentality of the person whose sins were thus punished; the grand. mother being the agent inflicting retribution on her grandson for her own guilt.
“I have but this to say,
And all for her; a plague upon her." P. 302, note (a). I am not at present so satisfied of the propriety of Mr. Dyce's ingenious emendation uptrimmed as I was formerly: In old times it was a custom for the bride at her wedding to wear her hair unbraided, and hanging loose over her shoulders. May not Constance by “- a new untrimmed bride," refer to this custom ? Peacham in describing the marriage of the princess Elizabeth with the Palsgrave says that the bride came into the chapell with a coronet of pearle on her head, and her haire dischevelled and hanging down over her shoulders.” Com. pare, too, “ Tancred and Gismunda," Act V. Sc. 1.:
“So let thy tresses flaring in the wind
Untrimmed hang about thy bared neck." P. 303, note (b). “Against the thing thou swear'st," query, "swearest by"?
P. 318, note (a). “Whose confidential parley." Rather whose secret dispatch. There is an instance of private used substantively in Ben Jonson's “Every Man in his Humour," Act IŅ. Sc. 5. “I will tell you, sir, by the way of private, and under seal.”
P. 319. “ Thou'rt damn'd as black_” It should have been remarked that Shakespeare had here probably in his mind the old religious plays of Coventry, some of which in his boyhood he might have seen, wherein the damned souls had their faces blackened.
In Sharp's Dissertation on these performances, the writer speaking of “ White and Black Souls," observes :“Of these characters the number was uniformly three of cach, but sometimes they are denominated 'savyd' and dampnyd Sowles,' instead of white and black.” "And in the same work we meet with, “ It payd to iij whyte sollys “ Ită payd to iij blake sollys “Itñ for makyng and mendynge of the blakke soules
hoso “p'd for blakyng the sollys fassys.”
Ibid. note (c). Add the following example from Florio's “ Worlde of Wordes." “Ruffare, to rifle, to skamble."
P. 321, note (c). Johnson is right. Florio after explain. ing Foragio to mean fodder, &c.,
says it had anciently the sense of Fuora, which is out, abroad, forth, &c.
A MIDSUMMER NIGHT'S DREAM. P. 358. In some of the early copies of this edition, a part of Bottom's speech runs, “Ladies, fair ladies, I
would wish you, I would request you, I would entreat you not to fear," &c. Read : “ Ladies, or fair ladies, I would, wish you, or I would request you, or, I would entreat you, not to fear," &c.
P. 359. For " Erit," after “thou art translated : Read : Exeunt Snout and Quince.
P. 363, note (a). “The critical remedy applied, afforded." Dele applied.
Subsequent consideration induces me to believe that the emendation of Mr. Collier's annotator, mentioned in the above note, is uncalled for.
P. 365, note (b). “O me! what means my loce?" I should now adhere to the old text,
“0, me! what news my love?” Mr. Collier's attempt to substantiate his annotator's reading means by reference to a passage in Nash and Marlowe's "Dido, Queen of Carthage, where he proposes the puerile change of " newly clad” for “meanly clad,” is a signal failure. The passage in the original stands thus :“ Achates, thou shalt be so meanly clad,
As sea-born nymphs shall swarm about thy ships,
And wanton mermaids court thee with sweet songs." And meanly is an obvious misprint for "mienly," i.e. shapely.
P. 377. “ For, by thy gracious, golden, glittering gleams." For gleams, I would now read with the second folio, “streams.
MERCHANT OF VENICE. P. 417, note (f). Add: which the said corrector bor. rowed from Theobald. (See Nickols's Illustrations, Vol. II. p. 308.)
P. 419, noto (a). “For intermission," after may mean, for fear of interruption. So in "King Lear," Act II. Sc. 4:
“Delivered letters spite of intermission." P. 421. “How true a gentleman you send relief." See note (d), p. 342, Vol. I.
P. 425. “ A woollen bagpipe.” Mr. Collier's annotator reads, "bollen bagpipe," and Mr. Dyce adopts the change: for “What writer," he says,
ever used such an expression as a woollen bagpipe ! Might he not, with almost equal propriety, talk of a woollen lute, or a woollen fiddle?" But see Massinger's play.of “The Maid of Honour," Act IV. Sc. 4:
“Walks she on woollen feet?"
HENRY THE FOURTH. PART I. P. 508. For “Edward Mortimer," Read: “Edmund Mortimer "
P. 511. After, “spent with crying—bring in," insert (d).
P. 525. For “Or prisoner's ransom,” Read : “Of prisoner's ransom."
P. 531, note (b). Add: perhaps correctly; see “A Woman is a Weathercock," Act I, Sc. 2:“But did that little old dried neat's tongue, that eel-skin
get him ?" P. 534. “ The likeness of a fat old man." We should read as in the quarto, "the likeness of an old fat man."
P. 540, note (e). Add: It meant to mix or mingle : thus, in Greene's “Quip for an Upstart Courtier :"-"You card your beer (if you see your guests beginning to get drunk), half small half strong. Again, in Hackluyt's Voyages, Vol. II. p. 489 :-“They drinke milke, or warme blood, and for the most part card them both together."
P. 631, note (1). For “ Asunctus," read “ Asunetus."