"Dr. Wellesley in his Anthologia Polyglotta (1849), p. 93, printed sonnet CLIV., "without any remark, underneath the Greek original, as one of the versions." But Hertzberg made his discovery independently.

PAGE 44 note 1 line 7, for ,Authour' read 'Authour'

PAGE 47 line 2 from end, for Comp, read Comp.,

note 1, for of the Bodleian read in the Bodleian

PAGE 48 line 11 from end, for they either o read they either of
PAGE 49 line 10, for II, 753, read II, 19, 753,

PAGE 51, I forgot to refer to Miss Hooker's article on Montaigne and Shakespeare, in the Publications of the Modern Language Association of America, Baltimore, 1902, pp. 312-366. She points out many 'parallelisms', many of which are doubtful. Mr. W. C. Hazlitt, too, gives us his opinion on the same subject, in his 'Shakespear' (sic), 1902, pp. 155 f.

PAGE 57 5), Perhaps Rabelais's influence is only indirect. We find similar fustian talk in Ben Jonson's Every Man out of his Humour, 1599, Act III, 1.

I.

PAGE 60 note 4, for wat read what

PAGE 63 l. 1-3, Professor Gollancz made this suggestion, in his Temple Shakespeare, Cymbeline (Preface). But cf. note 3.

P. 65. Dr. Garnett tells me that recent discoveries among Egyptian papyri place the date of Chariton's work not later than the third century of our era.

PAGE 66 note 1. It was Steevens who made this remark regarding Titus and Painter. He can scarcely be supposed to have made a wilful error. Steevens wrote: "Painter, in his Palace of Pleasure, tom. II. speaks "of the story of Titus as well known, and particularly mentions the cruelty "of Tamora". (Malone, Var. Ed., XXI, p. 258.) Perhaps his mistake is due to confusion between Timon (referred to by Painter, vol. II) and Titus. In the Preface to the Reader ibid. Painter refers to "two Romayne Queenes" who "point (as it wer) with their fyngers, the natures of Ambitio and Cruelty, "and the gredy lust (hidden in that feeble sexe) of soverainty". May we suppose that Steevens had made a hurried note regarding this, and that at a later date he rashly jumped to the conclusion that Tamora was referred to by Painter? Perhaps the name Tanaquil helped to add to the confusion. Not only truth but even error should be traced to its origin, if possible.

PAGE 71 line 11f. "Plautus", says Keller (Shakespeare Jahrbuch, XXXIV, p. 277), "hat, wie den Bramarbas so auch den Pedanten der neueren “Komödie zugeführt. Aus dem Ludus seiner Bacchides gehn alle Pädagogen "des italienischen Lustspiels hervor." Keller thinks that a Latin University

play called 'Paedantius' (circa 1580?) was known to Shakespeare, which I very much doubt. Hermann Graf wrote a dissertation, Der Miles gloriosus im englischen Drama bis zur Zeit des Bürgerkrieges, 1891, Rostock-Schwerin. I have not seen this.

PAGE 75 line 11, for Tiek read Tieck

PAGE 77 l. 8-11. The quotation is, of course, from Tennyson's Dream of Fair Women.

PAGE 78 title, for Dramatik read Dramatic

PAGE 81 end. Dr. Aldis Wright points out the following in A World of Wonders by Henry Stephen translated by R. C., 1607, p. 292: "the ancient Latinists.... had no good dexteritie in giving Etymologies of Ancient Latin words; witness the notation of Mulier, quasi mollis aer”. A writer in Notes and Queries (Febr. 1857) quotes Isidore of Seville as giving this grotesque etymology. (I am quoting from Dowden's edition of Cymbeline, in the Arden Shakespeare, 1903, p. 209.)

PAGE 101 note 2 line 1, for Shakespeare read Shakespeare,
PAGE 104 line 14, for cayeth read 'cayeth

PAGE 108 note 3. Breakespeare (= Adrian IV), like Shakespeare and Winspeare, must be regarded as being imperatives (or perhaps infinitives) in form, which explanation is supported by names such as Makepeace, Do-well, Thudichum, Bleibtreu, Hauschild, etc., and words like forget-me-not, rendezvous, portalettere (Ital.), etc.

PAGE 113 line 3 from end. Mr. P. A. Daniel doubted whether we should call Puck a fairy. But we know it from Puck's own mouth that he is one. Mids. N. Dr., V, 1, 390: "we fairies", etc.

PAGE 115 note 3 line 3, for cru-/shed read crush-/ed

PAGE 127 note 2. Dr. Lessiak, in a work soon to be published, will prove that Dekker was the author of Lust's Dominion.

PAGE 128 note 3. Prof. Schick also edited The Spanish Tragedy with an introduction in The Temple Dramatists, 1898.

PAGE 134, s. v. Mother Bombie. I now prefer to regard the expression "I cry you mercy, I took you for a joint-stool" as a proverbial saying expressing a clumsy apology.

line 4 from end, for Shrew read Shrew,

PAGE 143 note 4, dele by the Meiningen Company. Kahle acted Timon in the Schauspielhaus (where now, alas, the chief rôles are played by Matkowsky, who appeals to the lower instincts of the audience).

PAGE 149 1) and note 2. Dr. Warner, Mr. W. W. Greg, and myself examined Henslowe's Diary most carefully with regard to the ne's, on Sept. 8, 1903. If anybody's opinion is of weight, Dr. Warner's is. Mr. Greg, who is engaged upon a new edition of Henslowe's Diary, to be published next year by A. H. Bullen, is most familiar with the MS. volume. We used magnifying glasses and had good natural light. There can be no mistake whatever that the ne's are authentic. Dr. Eichhoff's allegation that they were all forged by Collier is untrue, and he only discovered a mare's nest. Of the ne's we examined, the only one which looked somewhat suspicious was that before 'titus and ondronicus', Jan. 23, 1593-4. But Dr. Warner was rather inclined to regard it as genuine.

PAGE 150 note 2, for it read the ballad

PAGE 154 note 3. I may here note one or two more errata in Schmidt's Lexicon: "Oliver", he says, is "a famous knight of Charlemagne's Round "Table". So far as I know, no Round Table is attributed to Charles. "Claw used blunderingly: but age hath clawed me in his clutch, "Hml. V, 1, 80. (Ff caught)". But clawed is in Tottel's Miscellany. Baille (Merry Wives, I, IV, 92) is not in the list of French words. Comp. also above, p. 168 and p. 257, p. 13f., p. 244 note 2; etc.

PAGE 155-195. I have already inserted some notes, with which the Rev. J. W. Ebsworth kindly favoured me, in the fifth chapter. I have much pleasure in subjoining the rest, which were crowded out above by the printer.

=

PAGE 156 note 1 line 2. J. W. E. conjectures that for tie "the true word "used was tice: entice. But we have no authority". But tie gives very good sense.

PAGE 158 line 3 from end. Dr. R. Sievers is publishing a dissertation on Thomas Deloney, to appear in the 36 th volume of the Palaestra, Berlin, 1903.

PAGE 164. J. W. E. refers me to his Robin Hood ballads, Roxburghe Ballads, vol. VIII (part XXIV), p. 529f, published in 1896. Child's third volume appeared in 1888/9.

PAGE 169 last lines. A contributor to the New Skakspere Soc. Trans., 1887-92, Part I, p. 142, says the words calino casturame=cailin ōg as stuaire me a girl young and fair am I.

PAGE 170 and passim. J. W. E. tells me that I should not have quoted from, or referred to, Mr. Wooldridge's "garbled and emasculated" edition. The original edition of 1855 is "the only valuable edition". I admit Wooldridge's edition is inferior, but the older edition is out of print and Mr. Wooldridge gives some new information, though he earns the just condemnation of every

scholar for the exclusion of most valuable matter. Nor would every scholar applaud his re-arrangement of the materials. As the original has a good index, which Mr. Wooldridge's edition has not, the reader will not be inconvenienced by my references to the latter. Of course, I used and studied both editions.

PAGE 173 lines 4 and 5. "Both ballads of Dr. Faustus and Titus An"dronicus are reprinted in the Ballad Society, Roxburghe Ballads, vols VI, "703, and II, 544". J. W. E.

PAGE 173 lines 16-24. William Birch's ballad is in the Britwell Library. I applied to the trustees of the same for permission to copy this ballad. Mr. Graves replied: "I regret to have to inform you that it is not possible "to comply with your request because the publication of the ballad in question "would detract from the interest of a volume of early ballads and broadsides "in the same collection which may ere long be printed". (March 31st. 1903.)

PAGE 174 Green Sleeves. Chappell (orig. ed., p. 230) reprints, in part, the words given in 'A Handefull of pleasant delites'. I expressed my doubts to the Rev. J. W. Ebsworth whether these were the original words, as the Stat. Registers mention a newe northern Dittye of the Ladye Greene Sleves (3 Sept. 1580). In 1581 (13th Febr.) Elderton's ballad "A Reprehension againste Greene Sleves" was booked. J. W. E. sees "no reason to doubt that we have substantially the true ballad" as printed in "A Handefull of pleasant delites".

PAGE 181 line 3. 'Antidote against Melancholy' was reprinted by J. W. E. in 1876 in 'Choyce Drollery', etc.

PAGE 185. "Come away, come away, death" seemed to me to lack the ring of a truly popular song. It did not seem sufficiently 'silly' to me, nor to dally with the innocence of love. Hence I believed it was an interpolation. But the Rev. J. W. Ebsworth, whose opinion is better than mine, writes indignantly: "No, no, no! I disagree in toto with this guess and am confident "that it is Shakespeare's own intended song. I would stake my judgment "(not to say my reputation) on it. I maintain that it exactly fulfils the "premises,―precisely the pathetic song the spinsters and knitters would "sing at their work-and sung it."

PAGE 186. J. W. E. thinks my theory is 'doubtful'.-Some theory must be ventured to explain the very curious correspondence and resemblance between Ophelia's fragment, The Gentle Herdsman, and Deloney's ballad, which commences thus:

As you came from the holy-land
Of Walsingham,

Met you not with my true love
By the way as you came?

How should I know your true love,

That have met many a one, etc.1

Then follows the description of the lady and the pilgrim's reply.-Bishop Percy must have instinctively felt the connexion, which subsists between the above productions, when he penned his 'Friar of Orders Gray'.

Either the original or some other Walsingham song is parodied in ‘Hans Beer-Pot', 1618:

As I went to Walsingham,

To that holy Land,

Met I with an olde balde Mare,

By the way as I came.

For further information on Walsingham, see Chappell, orig. ed., pp. 121-3. The original song is probably pre-Elizabethan.

PAGE 187 lines 9f. The Rev. J. W. Ebsworth had in mind "a ballett intituled taken nappynge as Mosse toke his meare", which we find entered on the Stationers' Registers in 1569/70 (Arber, I, 417).

PAGE 187 line 29. This is not certain', I said. But there can be no reasonable doubt about this any more, as the Rev. J. W. E. points out to me. For there is a better version than the one printed by Child from the Percy MS. in the Choyce Drollery, 1656, republished by J. W. Ebsworth in 1876 (Boston, Lincolnshire). The ballad (pp. 78-80) is entitled 'Upon the Scots being beaten at Muscleborough field', and begins thus:

On the twelfth day of December,

In the fourth year of King Edwards reign [,]

Two mighty Hosts (as I remember)

At Muscleborough did pitch on a Plain.

For a down, down, derry derry down, Hey down a,

Down, down, down a down derry.

PAGE 189 line 7 from end. But I suspect Collier is swindling'. To this J. W. E. remarks. "This to me is vile and gratuitous insult against the "dead man, whom I love and honour, and knew for years."

1 Percy Soc., XXX, Garland of Goodwill, p. 111. (The G. of G. is referred to by Nash, in Have with you, 1596, Huth Libr. ed., p. 123. As to Walsingham cf. ibid, p. 98.)

2 My italics.