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served, by collecting them into volumes instead of leaving the few that have escaped, to share the fate of the rest, which was probably hastened by their remaining in the form of pamphlets, their use and value being equally unknown to those into whose hands they fell.

Of some I have printed more than one copy; as there are many persons, who, not contented with the possession of a finished picture of some great master, are desirous to procure the first sketch that was made for it, that they may have the pleasure of tracing the progress of the artist from the first light colouring to the finishing stroke. To such the earlier editions of King John, Henry the Fifth, Henry the Sixth, The Merry Wives of Windsor, and Romeo and Juliet, will, I apprehend, not be unwelcome; since in these we may discern as much as will be found in the hasty outlines of the pencil, with a fair prospect of that perfection to which he brought every performance he took the pains to retouch.

The general character of the quarto editions may more advantageously be taken from the words of Mr. Pope, than from any recommendation of my own.

"The folio edition (says he) in which all the plays we now receive as his were first collected, was published by two players, Heminges and Condell, in 1623, seven years after his decease. They declare that all the other editions were stolen and surreptitious, and affirm theirs to be purged from the errors of the former. This is true as to the literal errors, and no other; for in all respects else it is far worse than the quartos.

"First, because the additions of trifling and bombast passages are in this edition far more numerous. For whatever had been added since those quartos by the actors, or had stolen from their mouths into the written parts, were from thence conveyed into the printed text, and all stand charged upon the author. He himself complained of this usage in Hamlet, where he wishes those who play the clowns would speak no more than is set down for them, (Act III, sc. iv.) But as a proof that he could not escape it, in the old editions of Romeo and Juliet, there is no hint of the mean conceits and ribaldries now to be found there. In others the scenes of the mobs, plebeians, and clowns, are vastly shorter than at present; and I have seen one in particular (which seems to have belonged to the play-house, by having the parts divided by lines, and the actors' names in the margin) where several of those very passages were added in a written hand, which since are to be found in the folio.

"In the next place, a number of beautiful passages were omitted, which were extant in the first single editions; as it seems

* It may be proper on this occasion to observe, that the actors printed several of the plays in their folio edition from the very quarto copies which they are here striving to depreciate; and additional corruption is the utmost that these copies gained by passing through their hands.

without any other reason than their willingness to shorten some scenes."

To this I must add, that I cannot help looking on the folio as having suffered other injuries from the licentious alteration of the players; as we frequently find in it an unusual word changed into one more popular; sometimes to the weakening of the sense, which rather seems to have been their work, who knew that plainness was necessary for the audience of an illiterate age, than that it was done by the consent of the author: for he would hardly have unnerved a line in his written copy, which they pretend to have transcribed, however he might, have permitted many to have been familiarized in the representation. Were I to indulge my own private conjecture, I should suppose that his blotted manuscripts were read over by one to another among those who were appointed to transcribe them; and hence it would easily happen, that words of similar sound, though of senses directly opposite, might be confounded with each other. They themselves declare that Shakspeare's time of blotting was past, and yet half the errors we find in their edition could not be merely typographical. Many of the quartos (as our own printers assure me) were far from being unskilfully executed, and some of them were much more correctly printed than the folio, which was published at the charge of the same proprietors, whose names we find prefixed to the older copies; and I cannot join with Mr. Pope in acquitting that edition of more literal errors than those which went before it. The particles in it seem to be as fortuitously disposed, and proper names as frequently undistinguished by Italick or capital letters from the rest of the text. The punctuation is equally accidental; nor do I see on the whole any greater marks of a skilful revisal, or the advantage of being printed from unblotted originals in the one, than in the other. One reformation indeed there seems to have been made, and that very laudable; I mean the substitution of more general terms for a name too often unnecessarily invoked on the stage; but no jot of obscenity is omitted: and their caution against profaneness is, in my opinion, the only thing for which we are indebt. ed to the judgment of the editors of the folio.*

How much may be done by the assistance of the old copies will now be easily known; but a more difficult task remains behind, which calls for other abilities than are requisite in the laborious collator.

From a diligent perusal of the comedies of contemporary au

and their caution against profaneness is, in my opinion, the only thing for which we are indebted to the editors of the folio.] I doubt whether we are so much indebted to the judgment of the editors of the folio edition, for their caution against profaneness, as to the statute 3 Jac. I, c. 21, which prohibits under severe penalties the use of the sacred name in any plays or interludes. This occasioned the play-house copies to be altered, and they printed from the play-house copies. Blackstone.

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thors, I am persuaded that the meaning of many expressions in Shakspeare might be retrieved; for the language of conversation can only be expected to be preserved in works, which in their time assumed the merit of being pictures of men and manners. The style of conversation we may suppose to be as much altered as that of books; and, in consequence of the change, we have no other authorities to recur to in either case. Should our lan

guage ever be recalled to a strict examination, and the fashion become general of striving to maintain our old acquisitions, instead of gaining new ones, which we shall be at last obliged to give up, or be incumbered with their weight; it will then be lamented that no regular collection was ever formed of the old English books; from which, as from ancient repositories, we might recover words and phrases as often as caprice or wantonness should call for variety; instead of thinking it necessary to adopt new ones, or barter solid strength for feeble splendour, which no language has long admitted, and retained its purity.

We wonder that, before the time of Shakspeare, we find the stage in a state so barren of productions, but forget that we have hardly any acquaintance with the authors of that period, though some few of their dramatick pieces may remain. The same might be almost said of the interval between that age and the age of Dryden, the performances of which, not being preserved in sets, or diffused as now, but the greater number printed, must lapse apace into the same obscurity.

"Vixere fortes ante Agamemnona


And yet we are contented, from a few specimens only, to form our opinions of the genius of ages gone before us. Even while we are blaming the taste of that audience which received with applause the worst plays in the reign of Charles the Second, we should consider that the few in possession of our theatre, which would never have been heard a second time had they been written now, were probably the best of hundreds which had been dismissed with general censure. The collection of plays, interludes, &c. made by Mr. Garrick, with an intent to deposit them hereafter in some publick library,* will be considered as a valuable acquisition; for pamphlets have never yet been examined with a proper regard to posterity. Most of the obsolete pieces will be found on enquiry to have been introduced into libraries but some few years since; and yet those of the present age, which may one time or other prove as useful, are still entirely neglected. I should be remiss, I am sure, were I to forget my acknowledgments to the gentleman I have just mentioned, to whose benevolence I owe the use of several of the scarcest quartos, which I could not otherwise have obtained; though I advertised for them, with sufficient offers, as I thought, either to tempt

* This collection is now, in pursuance of Mr. Garrick's Will, placed in the British Museum. Reed.

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the casual owner to sell, or the curious to communicate them; but Mr. Garrick's zeal would not permit him to withhold any thing that might ever so remotely tend to shew the perfections of that author who could only have enabled him to display his


It is not merely to obtain justice to Shakspeare, that I have made this collection, and advise others to be made. The general interest of English literature, and the attention due to our own language and history, require that our ancient writings should be diligently reviewed. There is no age which has not produced some works that deserved to be remembered; and as words and phrases are only understood by comparing them in different places, the lower writers must be read for the explanation of the highest. No language can be ascertained and settled, but by deducing its words from their original sources, and tracing them through there successive varieties of signification; and this deduction can only be performed by consulting the earliest and intermediate authors.

Enough has been already done to encourage us to do more. Dr. Hickes, by reviving the study of the Saxon language, seems to have excited a stronger curiosity after old English writers, than ever had appeared before. Many volumes which were mouldering in dust have been collected; many authors which were forgotten have been revived; many laborious catalogues have been formed; and many judicious glossaries compiled; the literary transactions of the darker ages are now open to discovery; and the language in its intermediate gradations, from the Conquest to the Restoration, is better understood than in any former time.

To incite the continuance, and encourage the extension of this domestick curiosity, is one of the purposes of the present publication. In the plays it contains, the poet's first thoughts as well as words are preserved; the additions made in subsequent impressions, distinguished in Italicks, and the performances themselves make their appearance with every typographical error, such as they were before they fell into the hands of the player-editors. The various readings, which can only be attributed to chance, are set down among the rest, as I did not choose arbitrarily to determine for others which were useless, or which were valuable. And many words differing only by the spelling, or serving merely to show the difficulties which they to whose lot it first fell to disentangle their perplexities must have encountered, are exhibited with the rest. I must acknowledge that son few readings have slipped in by mistake, which can pretend to serve no purpose of illustration, but were introduced by confining myself to note the minutest variations of the copies, which soon convinced me that the oldest were in general the most correct. Though no proof can be given that the poet superintended the publication of any one of these himself, yet we have little reason to suppose that he who wrote at the command of Elizabeth, and under the patronage of Southampton,

was so very negligent of his fame, as to permit the most incompetent judges, such as the players were, to vary at their pleasure what he had set down for the first single editions; and we have better grounds for suspicion that his works did materially suffer from their presumptuous corrections after his death.

It is very well known, that before the time of Shakspeare, the art of making title-pages was practised with as much, or perhaps more success than it has been since. Accordingly, to all his plays we find long and descriptive ones, which, when they were first published, were of great service to the venders of them. Pamphlets of every kind were hawked about the streets by a set of people resembling his own Autolycus, who proclaimed aloud the qualities of what they offered to sale, and might draw in many a purchaser by the mirth he was taught to expect from the humours of Corporal Nym, or the swaggering vaine of Auncient Pistoll, who was not to be tempted by the representation of a fact merely historical. The players, however, laid aside the whole of this garniture, not finding it so necessary to procure success to a bulky volume, when the author's reputation was es tablished, as it had been to bespeak attention to a few strag gling pamphlets while it was yet uncertain.

The sixteen plays which are not in these volumes, remained unpublished till the folio in the year 1623, though the compiler of a work called Theatrical Records, mentions different single editions of them all before that time. But as no one of the editors could ever meet with such, nor has any one else pretended to have seen them, I think myself at liberty to suppose the compiler supplied the defects of the list out of his own imagination; since he must have had singular good fortune to have been possessed of two or three different copies of all, when neither editors nor collectors, in the course of near fifty years, have been able so much as to obtain the sight of one of the number.*

At the end of the last volume I have added a tragedy of King Leir, published before that of Shakspeare, which it is not improbable he might have seen, as the father kneeling to the daughter, when she kneels to ask his blessing, is found in it; a circumstance two poets were not very likely to have hit on se

*It will be obvious to every one acquainted with the ancient English language, that in almost all the titles of plays in this catalogue of Mr. William Rufus Chetwood, the spelling is constantly overcharged with such a superfluity of letters as is not to be found in the writings of Shakspeare or his contemporaries. A more bungling attempt at a forgery was never obtruded on the publick. See the British Theatre, 1750; reprinted by Dodsley in 1756, under the title of "Theatrical Records, or an Account of English Dramatick Authors, and their Works," where all that is said concerning an Advertisement at the end of Romeo and Juliet, 1597, is equally false, no copy of that play having been ever published by Andrew Wise.

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