principal parts or characters." The very curious papers lately discovered in Dulwich College, from which large extracts are given at the end of the History of the Stage, prove, what I long since suspected, that this play, and The First Part of King Henry VI. were in possession of the scene when Shakspeare began to write for the stage; and the same manuscripts show, that it was then very common for a dramatick poet to alter and amend the work of a preceding writer. The question therefore is now decisively settled; and undoubtedly some additions were made to both these pieces by Shakspeare. It is observable that the second scene of the third act of Titus Andronicus, is not found in the quarto copy printed in 1611. It is therefore highly probable, that this scene was added by our author; and his hand may be traced in the preceding act, as well as in a few other places. The additions which he made to Pericles are much more numerous, and therefore more strongly entitle it to a place among the dramatick pieces. which he has adorned by his pen. With respect to the other contested plays, Sir John Oldcastle, The London Prodigal, &c. which have now for near two centuries been falsely ascribed to our author, the manuscripts above mentioned completely clear him from that imputation; and prove, that while his great modesty made him set but little value on his own inimitable productions, he could patiently endure to have the miserable trash of other writers publickly imputed to him, without taking any measure to vindicate *If ever the account-book of Mr. Heminge shall be discovered, we shall probably find in it-" Paid to William Shakspeare for mending Titus Andronicus." See Vol. III. his fame. Sir John Oldcastle, we find from indubitable evidence, though ascribed in the title-page to "William Shakspeare," and printed in the year 1600, when his fame was in its meridian, was the joint-production of four other poets; Michael Drayton, Anthony Mundy, Richard Hathwaye, and Robert Wilson.3 In the Dissertation annexed to the three parts of King Henry the Sixth, I have discussed at large the question concerning their authenticity; and have assigned my reasons for thinking that the second and third of those plays were formed by Shakspeare, on two elder dramas now extant. Any disquisition therefore concerning these controverted pieces is here unnecessary. Some years ago I published a short Essay on the economy and usages of our old theatres. The Historical Account of the English Stage, which has been formed on that essay, has swelled to such a size, in consequence of various researches since made, and a great accession of very valuable materials, that it is become almost a new work. Of these, the most important are the curious papers which have been discovered at Dulwich, and the very valuable Office-book of Sir Henry Herbert, Master of the Revels to King James and King Charles the First, which have contributed to throw much light on our dramatick history, and furnished some singular anecdotes of the poets of those times. Twelve years have elapsed since the Essay on the order of time in which the plays of Shakspeare were written, first appeared. A re-examination of these plays since that time has furnished me with 3 Vol. III Additions. several particulars in confirmation of what I had formerly suggested on this subject. On a careful revisal of that Essay, which, I hope, is improved as well as considerably enlarged, I had the satisfaction of observing that I had found reason to attribute but two plays to an era widely distant from that to which they had been originally ascribed; and to make only a minute change in the arrangement of a few others. Some information, however, which has been obtained since that Essay was printed in its present form, inclines me to think, that one of the two plays which I allude to, The Winter's Tale, was a still later production than I have supposed; for I have now good reason to believe, that it was first exhibited in the year 1613; and that consequently it must have been one of our poet's latest works. Though above a century and a half has elapsed since the death of Shakspeare, it is somewhat extraordinary, (as I observed on a former occasion,) that none of his various editors should have attempted to separate his genuine poetical compositions from the spurious performances with which they have been long intermixed; or have taken the trouble to compare them with the earliest and most authentick copies. Shortly after his death, a very incorrect impression of his poems was issued out, which in every subsequent edition, previous to the year 1780, was implicitly followed. They have been carefully revised, and with many additional illustrations are now a second time faithfully printed from the original copies, excepting only • See Emendations and Additions, Vol. I. Part II. p. 286, [i. e. Mr. Malone's edition.] The paragraph alluded to, in the present edition, will stand in its proper place. STEEVENS. Venus and Adonis, of which I have not been able to procure the first impression. The second edition, printed in 1596, was obligingly transmitted to me by the late Reverend Thomas Warton, of whose friendly and valuable correspondence I was deprived by death, when these volumes were almost ready to be issued from the press. It is painful to recollect how many of (I had almost said) my coadjutors have died since the present work was begun :-the elegant scholar, and ingenious writer, whom I have just mentioned; Dr. Johnson, and Mr. Tyrwhitt: men, from whose approbation of my labours I had promised myself much pleasure, and whose stamp could give a value and currency work. to any With the materials which I have been so fortunate as to obtain, relative to our poet, his kindred, and friends, it would not have been difficult to have formed a new Life of Shakspeare, less meagre and imperfect than that left us by Mr. Rowe: but the information which I have procured having been obtained at very different times, it is necessarily dispersed, partly in the copious notes subjoined to Rowe's Life, and partly in the Historical Account of our old actors. At some future time I hope to weave the whole into one uniform and connected narrative. My inquiries having been carried on almost to the very moment of publication, some circumstances relative to our poet were obtained too late to be introduced into any part of the present work. Of these due use will be made hereafter. The prefaces of Theobald, Hanmer, and Warburton, I have not retained, because they appeared to me to throw no light on our author or his works the room which they would have taken up, will, I trust, be found occupied by more valuable matter. As some of the preceding editors have justly been condemned for innovation, so perhaps (for of objections there is no end,) I may be censured for too strict an adherence to the ancient copies. I have constantly had in view the Roman sentiment adopted by Dr. Johnson, that "it is more honourable to save a citizen than to destroy an enemy,' and, like him, "have been more careful to protect than to attack."-" I do not wish the reader to forget, (says the same writer,) that the most commodious (and he might have added, the most forcible and elegant,) is not always the true reading." On this principle I have uniformly proceeded, having resolved never to deviate from the authentick copies, merely because the phraseology was harsh or uncommon. Many passages, which have heretofore been considered as corrupt, and are now supported by the usage of contemporary writers, fully prove the propriety of this caution. See particularly The Merchant of Venice, Vol. VII. p. 297: 66 We undoubtedly should not now write "But, lest myself be guilty to self-wrong," yet we find this phrase in The Comedy of Errors, Act III. Vol. XX. See also The Winter's Tale, Vol. IX. p. 420: 66 This your son-in-law, "And son unto the king, (whom heavens directing,) "Is troth-plight to your daughter." Measure for Measure, Vol. VI. p. 358: "-to be so bared,-," Coriolanus, Vol. XVI. p. 148, n. 2: "Which often, thus, correcting thy stout heart," &c. Hamlet, Vol. XVIII. p. 40: "That he might not beteem the winds of heaven," &c. |