1. Hamlet, William Shakespeare, 1605, I. R. for N. L. 2. D°. William Shakespeare, 1611, for John Smethwicke. 3. Do. William Shakespeare, no Date, W. S. for D°. 4. D°. William Shakespeare, 1637, R. Young, for Do. 1. Othello, William Shakespeare, no Date, Thor mas Walkely. 2. D°. William Shakespeare, 1622, N. O. for Thomas Walkely. 3. D°. William Shakespeare, 1630, A. M. for Richard Hawkins. 4. D°. William Shakespeare, 1655, for William Leake. Of all the other Plays, the only authentick Edition is the Folio of 1623, from which the subsequent Folios never vary but by Accident or Negligence. I. Mr. William Shakespeare's Comedies, Histories, and Tragedies. Published according to the true original Copies. 1623. Fol. Ifaac Jaggard and Ed. Blount. II. Do. 1632. Fol. Tho. Cotes, for Rob. Allot. III. Do. 1664. Fol. for P. C. IV. Do. 1685. Fol. for H. Herringman, E. Brewster, and R. Bentley. EDITIONS of SHAKESPEARE'S POEMS. I. Shakespeare's Poems, 1609, 4to. II. Do. no Date, 8vo. for Bernard Lintot. III. D°. 1640. 8vo. Tho. Cotes, fold by John Benfon. IV. Passionate Pilgrim, Poems by Do. 1599, 8vo. small, for W. Jaggard, fold by W. Leake. V. Rape of Lucrece, a Poem, 1594, 4to. Richard Field, for John Harrifon. VI. Do. 1598, 8vo. P. S. for Do. VII. Do. 1607, 8vo. N. O. for Do. VIII. Venus and Adonis, a Poem, 1620, 8vo. for J. P. PLAYS PLAYS ascribed to SHAKESPEARE, either by the Editors of the Two later Folios, or by the Compilers of ancient Catalogues. 1. Arraigument of Paris, 1584, Henry Marsh. 2. Birth of Merlin, 1662, Tho. Johnson, for Francis Kirk man and Henry Marsh. 3. Edward III. 1596, for Cuthbert Burby. 2. 1599. Simon Stafford, for D°. 4. Fair Em*, 1631, for John Wright. 5. Locrine, 1595, Thomas Creede. 6. London Prodigal, 1605. 7. Merry Devil of Edmonton, 1608, Henry Ballard, for Arthur Johnfon. 2. 1617. G. Eld, for Do. 1626, A. M. for Francis Falkner. 4. 1631. T. P. for Do. 5. 1655, for W. Gilbertson. 8. Mucedorus, 1598, for William Jones. 2. 1610, for Do. 3. 1615. N. O. for Do. 4. 1639, for John Wright. 5. No Date, for Francis Coles. 6. 1668, E. O. for Do. 9. Pericles, 1609, for Henry Gofson. 2. 1619, for T. P. 3. 1630. J. N. for R. B. 4. 1635. Tho. Cotes. 10. Puritan, 1607, G. Eld. 11. Sir John Oldcastle, 1600, for T. P. 12. Thomas Lord Cromwell, 1613. Tho. Snodham. 13. Two Noble Kinsmen, 1634, Tho. Cotes, for John Waterfon. 14. Yorkshire Tragedy, 1619, for T. P. * Fair Em. In Mr. Garrick's Collection, is a Volume, formerly belonging to King Charles I. which is lettered on the Back, SHAKESPEARE, Vol. I. This Vol. confifts of Three Plays, viz. Fair Em, The Merry Devil, &c. and Mucedorus. There is no other Authority for ascribing Fair Em to our Author. STEEVENS, Persons Represented. ALONSO, king of Naples. Sebastian, his brother. Profpero, the rightful duke of Milan. Anthonio, his brother, the ufurping duke of Milan. Ferdinand, fon to the king of Naples. Gonzalo, an honest old counsellor of Naples. Adrian, } lords. Francifco, Caliban, a Savage and deformed slave. Trinculo, a jester. Stephano, a drunken butler. Master of a ship, boatswain, and mariners. Miranda, daughter to Profpero. Ariel, an aiery spirit. Iris, SCENE, the sea with a ship, afterwards an uninhabited island. B Enter a Ship-master and a Boatswain2. Oatswain MASTER. 1 Boats. Here, master : what cheer? Maft. Good: fpeak to the mariners.- 3 Fall to't yarely, or we run ourselves aground: beftir, bestir. [Exit. * The Tempest.] These two plays, The Tempest and The MidSummer's Night's Dream, are the noblest efforts of that fublime and amazing imagination peculiar to Shakespeare, which foars above the bounds of nature without forsaking fenfe: or, more properly, carries nature along with him beyond her established limits. Fletcher seems particularly to have admired these two plays, and hath wrote two in imitation of them, The Sea-Voyage and The Faithful Shepherdess. But when he prefumes to break a lance with Shakespeare, and write in emulation of him, as he does in The False One, which is the rival of Anthony and Cleopatra, he is not so successful. After him, Sir John Suckling and Milton catched the brightest fire of their imagination from these two plays; which shines fantastically indeed in The Goblins, but much more nobly and serenely in The Mask at Ludlow-Castle. WARBURTON. No one has been hitherto lucky enough to discover the romance on which Shakespeare may be supposed to have founded this play. The Rev. Mr. T. Warton had been informed, that it was taken |