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SHAKSPEREAN STATISTICS : 
 
 A NEW AND ENLARGED EDITION; 
 
 BY 
 
 H. T. HALL, 
 
 Author of " Shaksperean Fly Leaves" " The Plays of 
 Shaksfiere" " The May Queen" &c. 
 
 ft Shall we not believe books in print ? " BEAUMONT & FLETCHER, 
 
 The Night Walker. Act III., s. i. 
 
 CAMBRIDGE : 
 
 PUBLISHED FOR THE AUTHOR BY H. WALLIS, 
 BOOKSELLER, SIDNEY STREET. 
 
 1874. 
 
 PRICE TWO SHILLI 
 
SHAKSPEREAN STATISTICS: 
 
 A NEW AND ENLARGED EDITION; 
 
 BY 
 
 H. T. HALL, 
 
 M 
 
 Author of " Shaksperean Fly Leaves'' "The Plays of 
 Shakspere" " The May Queen " &c. 
 
 Shall we not believe books in print ? " BEAUMONT & FLETCHER. 
 The Night Walker. Act III., s. i. 
 
 CAMBRIDGE : 
 
 PUBLISHED FOR THE AUTHOR BY H. WALLIS, 
 BOOKSELLER, SIDNEY STREET. 
 
 1874. 
 
7J2 
 
 NOTE. 
 
 THE present edition has grown considerably in the 
 course of revision, so much so, that it is double the bulk 
 of its predecessor. It contains notices of Shakspere by 
 his contemporaries and successors ; life, and chronology 
 of his works ; a list of every edition of his works pub- 
 lished in English, the number of separate editions of his 
 plays and poems ; with an account of his progress in 
 Germany and France, together with other information, 
 which it is hoped will prove interesting to Shaksperean 
 readers. 
 
 July, 1874. 
 
 675 
 
SHAKSPEREAN STATISTICS. 
 
 THESE Statistics have been partly derived from the 
 article Shakspere y to be found in Bonn's Edition of 
 Lawndes' Bibliographer's Manual, from Wilson, Halliwell 
 and Thinn's Shaksperianas, from an article which 
 appeared in the Athenaeum during the year 1864; also 
 from the article Shakspere in Allibone's Dictionary of 
 Authors, from the Catalogue of the Shakspere Memorial 
 Library at Birmingham,* and from a register kept of all 
 editions of Shakspere that have been published since 1 847, 
 and also of all works that have been published relating to 
 Shakspere and the new editions of his Plays published 
 separately. They have been compiled, not to serve the 
 
 * This is unquestionably the largest and most complete Shak- 
 sperean Library, not only in England, but the world ; and it certainly 
 redounds to the credit of the Birmingham people, who in seeking to 
 do honour to our own and the world's poet, who was a native of their 
 county, they have also done honour to themselves. This Library 
 was first suggested by Mr. Samuel Timmins in 1858, was first 
 publicly advocated by Mr. George Dawson in 1861, and was finally 
 established on April 23rd, 1864, when an address, with a deed of 
 gift of a great number of Shaksperean volumes, were accepted by 
 the Mayor (Mr. William Holliday), on behalf of the Town and 
 Corporation. "The Library now, December 1872, contains 4,713 
 vols., of which the English number 3,109; French, 226; German, 
 1,125 ; Bohemian, 37 ; Danish, 60 ; Dutch, 53 ; Frisian, 2 ; Greek 
 (modern), 2 ; Hungarian, 12 ; Italian, 43 ; Polish, 5 ; Russian, 13 ; 
 Spanish, 2 ; Swedish, 22 ; Wallachian, i ; Welsh, i." 
 
6 SHAKSPEREAN STATISTICS. 
 
 purpose of the book-hunter as to the monetary value of 
 scarce editions, for the prices of none of the editions 
 are given, excepting the first four folios and some of the 
 early quarto editions, but they have been compiled for 
 the use of the general reader, to show, by the number of 
 editions, the immense popularity of Shakspere's writings. 
 But few persons are aware of the numerous editions 
 which have been published, the number of works written 
 upon Shakspere, and the extent and variety of languages 
 in which his works have been translated. The follow- 
 ing statistics will give the desired information upon 
 each and all of these points ; the number of editions 
 being brought down to the middle of the year 1874, and 
 the numerous works on Shakspere, and in elucidation of 
 his works during the last few years have been also 
 added to the number of Shaksperiana. 
 
 No fairer way can be devised of judging of an 
 author's popularity, than by taking the number of 
 editions which have been published of his works, and the 
 works which have appeared, seeking critically to explain 
 and illustrate the meaning of his writings. If this test 
 is applied to Shakspere, we shall find him above all 
 other authors. Supreme amongst human kind stands 
 the Titan of Stratford. Not in his own country alone, 
 -but "the wide world" is fully cognizant of his worth, 
 for in almost all European languages, and even in some 
 <of the Eastern, have his works or a part thereof been 
 translated. 
 
 The notion that Shakspere was not highly esteemed 
 by his contemporaries, and that his works were not 
 popular, has, happily, long been an exploded one. There 
 was no dramatic writer of his time that in any way 
 
SHAKSPEREAN STATISTICS. 7 
 
 approached his popularity ; no other writer's works 
 were to be so frequently seen upon the stage as those of 
 Shakspere.* He appears to have been in his own period 
 the " be all and the end all," the " one bright particular 
 star," the " observed of all observers," the " glass of 
 fashion," in fact, a Colossus bestriding this "narrow 
 world " of ours. 
 
 During the life-time of Shakspere seventeen of his 
 plays were published, some of them running through 
 several editions, A Midsummer Night's Dream, two ; 
 The Merchant of Venice, two ; Richard the 2nd, five ; 
 Henry 4th, part \.,five; Henry 5th, three; Hamlet, five; 
 Richard the y^five; Troilus and Cressida, two ; Titus 
 Andronicus, two ; Pericles, two ; Lear, two ; Romeo and 
 Juliet, three. A like result attended the publication of 
 his Poems during his sojourn upon the earth. Venus 
 and Adonis, five; Lucrece, four ; The Passionate 
 Pilgrim, two ; and the Sonnets, two. 
 
 The earliest allusion made to Shakspere as a poet, 
 occurs in a MS. tract on "The Excellency of the 
 English Tongue," penned by Richard Carew of Antony, 
 
 * The popularity of Shakspere at this period is fully evidenced by 
 the curious accounts of the Audit Office, which were discovered by 
 Mr. P. Cunningham. On November ist, 1604, at the Banquetting 
 House, Whitehall, a play called The Moor of Venice; on the 
 Sunday following, November 4th, a play of The Merry Wives of 
 Windsor ; on St. Stephen's night, December 26th, a play called 
 Measure for Measure ; on Innocent's night, December 28th, the 
 play of Errors ; between New Year's Day and Twelfth-day, a play 
 of Love's Labour's Lost; on the 7th of January, 1605, the play of 
 Henry V. ; on Shrove Sunday, a play of The Merchant of Venice; 
 and on Shrove Tuesday, the play of The Merchant of Venice was 
 repeated. The whole of these performances were given by his 
 Majesty's players and by command of his Majesty James I. 
 
8 SHAKSPEREAN STATISTICS, 
 
 Esq. It is addressed to William Camden, then Head- 
 master of Westminster Grammar School, and was 
 printed among his " Remains." The passage runs : 
 " Will you read Virgil, take the Earl of Surrey, Catullus, 
 Shakespheare.' ' 
 
 In 1591, he is alluded to by Edmund Spencer, in his 
 poem of The Tears of the Muses, in the lines. 
 
 "And he, the man whom Nature's self had made 
 
 To mock herself, and Truth to imitate, 
 With kindly counter, under mimic shade, 
 
 Our pleasant Willy, ah ! is dead of late ; 
 With whom all joy and pleasant merriment 
 Is also deaded, and in dolour drent." 
 
 In 1592, he is alluded to in Robert Green's pamphlet, 
 A Groatsworth of wit, bought with a million of repentance. 
 It is addressed to Marlowe, Lodge and Peele, three of 
 his old acquaintances. " Base minded men, all three of 
 you, if by my misery yee bee not warned ; for unto none 
 of you (like me) sought these burs to cleave ; those 
 puppets (I meane) that spake from their mouths, those 
 anticks garnished in our colours. Is it not strange that 
 I to whom they have all been beholding ; is it not like 
 that you to whom they all have been beholding, shall 
 (were yee in that case that I am now) be both of them 
 at once forsaken r Yes, trust them not ; for there is an 
 upstart crow beautified with our feathers, that with his 
 Tygres heart wrapt in a player's hyde, supposes he is 
 as well able to bombast out a blanke verse as the best 
 of you ; and being an absolute Johannes Factotum is in 
 his own conceyte the only Shake-scene in a country." 
 The apology of Chettle, who edited the posthumous 
 works of Greene, in which this spiteful effusion was 
 contained, serves to show the popularity of Shakspere. 
 He says, in his preface to the Kind Heart's Dream, 
 
SHAKSPEREAN STATISTICS. 9 
 
 " how I have, all the time of my conversing in printing, 
 hindered the bitter envying against schollers, it hath 
 been well knowne ; and how is that I dealt I can suffi- 
 ciently proove. With neither of them that take offence 
 was I acquainted, and with one of them I care not if I 
 never be : the other whome at that time I did not so 
 much spare, as since I wish I had for that, as I have 
 moderated the heate of living writers, and might have 
 used my own discretion, especially in such a case, the 
 author being dead. That I did not, I am as sorry as if 
 the originall fault had been my fault, because myselfe 
 have seene his demeanour no less civill than he excellent 
 in the qualitie he professes ; Besides divers of worship 
 have reported his uprightness of dealing, which argues 
 his honesty and his facetious grace in writing that 
 approves his art." * Some short time after the death of 
 Greene, Dr. G. Harvey, the companion and friend of the 
 poet Spenser, published Four Letters and Sonnets, in 
 which he most sharply comments on the deceased dra- 
 matist. The third letter, however, contains an allusion 
 to Shakspere, for after commending Spenser, Sidney, 
 Watson, Daniel, Nash and others, as objects of imitation, 
 he says : " I speak generally to every springing wit, 
 but more especially to a few ; and at this instant singu- 
 larly to one whom I salute with a hundred blessings, and 
 entreat with as many prayers to love them that love 
 good wits, and hate none but the devil and his incarnate 
 imps, notoriously professed ! " The few he has already 
 mentioned, and the one here meant, cannot be but the 
 one of England William Shakspere. 
 
 * In a recent letter to the Athenaeum, Mr. Staunton has sought 
 to show that Chettle in his Apology for the Groatsworth of IVit, 
 does not allude to Shakspere, but he fails to prove his position, for 
 the facts of the case evidently show that it is an undoubted allusion 
 to the great master. 
 
 B 
 
 /JlTylA. *4 
 
10 SHAKSPEREAN STATISTICS. 
 
 In 1594, Spenser again alludes to him in his poem 
 Colin Clout's Come Home Again, under the feigned name 
 of Action : 
 
 " And' there, though last, not least, is Aetion 
 A gentler shepherd may nowhere be found, 
 
 Whose music, full of high thought's invention, 
 Doth like himself heroically sound." 
 
 In the same year, John Marston, the dramatist, thus 
 alludes to Shakspere in the eleventh satire of the 
 Scourge of Villany : 
 
 " Luscus, what's plaid to*day ; Faith, now I know, 
 I set thy lips abo-ach, from whence doth flow 
 Nought but pure ' Juliet and Romeo.' ' 
 
 Drayton, too, in 1594, in \wSrMatilda, also alludes to 
 Shakspere : 
 
 " Lucrece, of whom proud Rome hath boasted long, 
 Lately revived to live another age."' 
 
 1 ! 
 
 Willobie, in his poem of Avisa, produced in 1594, 
 thus writes of Shakspere and his poem of Lucrece : 
 
 t( Though Collatine have dearly bought 
 
 To high renowne a lasting life, 
 And found that most in vaine have sought 
 
 To have a faire and constant wife. 
 Yet Tarquine pluct his glistering grape, 
 And Shakespeare paints poore Lucrece, rape." 
 
 In 1595, The Return from Parnassus y was first 
 publicly acted by the students of St. John's College, 
 Cambridge, and it thus alludes to Shakspere : 
 
 " Who loves Adonis' love or Lucrece' s rape, 
 His sweeter verse contains heart-throbbing life, 
 Could but a graver subject him- content, 
 Without love's lazy foolish languishment." 
 
 The poets and dramatists of the period the author then 
 passes in review, and after commenting on each, 
 observes, " Why, here's our fellow Shakspere puts them 
 
SHAKSPEREAN STATISTICS. II 
 
 all down aye, and Ben Jonson, too." In the same 
 year, in a marginal note to a work entitled Poliamanteia, 
 published in quarto, the author writes that " all praise " 
 the Lucretia of " sweet Shakespeare." 
 
 In 1598, the most important allusion to the position 
 of Shakspere among" his contemporaries, is found in 
 Mere's Palladis Tamia, or Wit's Treasury r , being the 
 second part of Wit's Commonwealth. "As the soule of 
 Euphorbus was thought to live in Pythagoras ; so the 
 sweet wittie soule of Ovid lives in mellifluous and 
 honey-tonguedShakspeere,witnes his Venus and Adonis y 
 his Lucrece, his sugred Sonnets among his private 
 friends, &c. 
 
 " As Plautus and Seneca are accounted the best for 
 Comedy and Tragedy among the Latins : so Shakespeare 
 among the English is the most excellent in both kinds 
 for the stage ; for Comedy, witness his Gentleman of 
 Verona, his Errors, his Love's Labour Lost, his Loves 
 Labour Wonne, his Midsummer's Night Dreame, and his 
 Merchant of Venice; for Tragedy, his Richard II., 
 Richard III., Henry IV., King John, Tittts Andronicus, 
 and his Romeo and Juliet. 
 
 "As Epius Stolo said that the Muses would speak 
 with Plautus' tongue, if they would speak Latin : so I 
 say that the Muses would speak with Shakespeare's fine 
 filed phrase, if they would speake English," folios 281, 
 282. 
 
 In this year, also, Richard Barnefield published a 
 work in verse, entitled, A Remembrance of some English 
 Poets, in which he thus alludes to Shakspere : 
 
 "And Shakespeare, thou, whose honey-flowing vein 
 (Pleasing the world), thy praises doth obtain ; 
 Whose ' Venus,' and whose ' Lucrece ' (sweet and chaste); 
 Thy name in Fame's immortal book have plac'd; 
 
12 SHAKSPEREAN STATISTICS. 
 
 Live ever you, at least, in fame live ever ; 
 Well may the body die, but Fame dies never." 
 
 Among the Epigrams of Weever, published in 1599, 
 but which were written some years earlier, the following 
 lines were addressed to Shakspere : 
 
 "AD GULIELUMUM SHAKESPEARE. 
 
 " Honey-tongued Shakespeare, when I saw thine issue, 
 
 I swore Apollo got them, and no other ; 
 Their rose-tainted features clothed in tissue, 
 
 Some heaven-born goddess said to be their mother : 
 Rose-cheek'd Adonis, with his amber tresses, 
 
 Fair, fire-hot Venus charming him to love her, 
 Chaste Lucretia, virgin-like her dresses, 
 
 Proud lust-stung Tarquin seeking still to prove her ; 
 Romeo, Richard, more whose names I know not, 
 
 Their sugred tongues and power attractive beauty, 
 Say they are saints, although that saints they show not, 
 
 For thousands vow to them subjective duty. 
 They burn in love, thy children, Shakespeare, let them 
 Go, woo thy Muse ; more nymphish brood beget them." 
 
 In 1603, the year of the death of Queen Elizabeth, 
 Henry Chettle remonstrates with Shakspere for neg- 
 lecting to pay some poetical tribute to her memory. 
 The title of the poem is, England's Mourning Garment, 
 and the author thus alludes to the bard of Avon, under 
 the name of Melicert : 
 
 " Nor doth the silver-tongued Melicert, 
 Drop from his honied muse one sable tear, 
 
 To mourn her death that graced his dessert, 
 And to his lays open'd her royal ear. 
 
 Shepherd, remember our Elizabeth, 
 
 And sing her rape, done by that Tarquin, Death," 
 
 In this same year, the name of Shakspere is men- 
 tioned in an invitation to write on behalf of " England's 
 Queene," in "A Mournful Dittie, entitled, Elizabeth's 
 Losse, together with a Welcome for King James, to a 
 
SIIAKSPEREAN STATISTICS. 13 
 
 pleasant new tune. Imprinted at London, for T. P." 
 (Thomas Purfoote.) 
 
 " You Poets all, brave Shakspere, 
 Johnson, Greene, 
 Bestow your time to write 
 For England's Queene." 
 
 Also, in this year, John Davies, of Hereford, pub- 
 lished his MicrocosmoS) in which he also alludes to 
 Shakspere and his fellow-actor, Burbadge. It is only by 
 the initials of their names that the allusion is made. 
 
 " Players, I love ye, and your quality, 
 As ye are men that pass time not abus'd ; 
 
 And some (W. S., R. B.) I love for painting, poesy, 
 And say fell Fortune cannot be excus'd, 
 
 That hath for better uses you refus'd ; 
 
 Wit, courage, good shape, good parts, and all good, 
 
 As long as all these goods are no worse us'd ; 
 
 And though the stage cloth stain, pure, gentle blood, 
 
 Yet generous ye are in mind and mood." 
 
 The same rude rhymer, in his Humours, &c., pub- 
 lished in 1605, speaking of the followers of Fortune, 
 again pays a compliment to Shakspere and his fellow- 
 actor. 
 
 " Some followed her by acting all men's parts ; 
 
 Those on a stage she rais'd, in scorn, to fall, 
 And made them mirrors by their acting arts, 
 
 Wherein men saw their faults, though ne'er so small : 
 Yet some (W. S., R. B.) she guerdon'd not to their desarts ; 
 
 But otherwise were but ill-action all, 
 Who, while they acted ill, ill stayed behind, 
 By custom of their manners, in their mind." 
 
 Dr. Gabriel Harvey, the astrologer, a friend of 
 Spenser, the poet, made the following entry, early no 
 doubt in the seventeenth century, in one of his books ; 
 " The younger sort take much delight in Shakespeare's 
 Venus and Adonis y but his Lucrece and his tragedy of 
 
14 SHAKSPEREAN STATISTICS. 
 
 Hamlet, Prince of Denmark, have it in them to please 
 the wiser sort." 
 
 John Davies, of Hereford, with whom Shakspere 
 appears to have been an especial favourite, in a poem 
 entitled The Scourge of Folly r , which seems to have been 
 printed about the year 1611, thus addresses the bard in 
 the following lines : 
 
 "To OUR ENGLISH TERENCE, Mr. WILL. SHAKESPEARE. 
 
 " Some say, good Will., which I, in sport, do sing, 
 Hadst thou not played some kingly parts in sport, 
 
 Thou had'st been a companion for a king, 
 And been a king among the meaner sort. 
 
 Some others rail ; but rail as they think fit, 
 Thou hast no railing, but a reigning wit ; 
 
 And honesty thou sow'st, which they do reap, 
 
 So to increase their stock, which they do keep." 
 
 In a poem entitled The Ghost of Richard 1 77., written 
 by " C. B." supposed to be Christopher Brooke, and 
 published in 1614, the author thus alludes to Shakspere 
 in the following lines, spoken by Richard : 
 
 " To him that imp'd my fame with Clio's quill, 
 Whose magic raised me from oblivion's den, 
 
 That writ my story on the Muses' hill, 
 And with my actions dignified his pen ; 
 
 He that from Helicon sends many a rill, 
 Whose nectared veins are drunk by thirsty men ; 
 
 Crown 'd be his style with fame, his head with bays, 
 
 And none detract, but gratulate his praise." 
 
 The estimation Shakspere was held in, is still further 
 shown in the Dedication, and the address to the variety 
 of readers, written by his fellow-players, Heminge and 
 Condell, published in the first folio. The commendatory 
 verses therein contained also strengthen this view. 
 They are written by four different authors, all men of 
 note in their generation : first among whom stands the 
 the name of " O rare Ben Jonson,'' who thus sings : 
 
SHAKSPEREAN STATISTICS. 15 
 
 " Soule of the age ! 
 
 The applause ! delight ! the wonder of our stage,. 
 Triumph, my Britaine, thou hast one to showe, 
 To whom all scenes of Europe homage owe, 
 He was not of an age, but for all time ! " 
 
 The other authors are Leonard Digges, a member of 
 University College, Oxford; J. M. James Mabbe, a 
 fellow of Magdalen College, Oxford ; and Hugh Holland, 
 a fellow of Trinity College, Cambridge ; both Univer- 
 sities being represented in this list, thus evidencing the 
 hold which the works of Shakspere had taken of English 
 thought and aspirations. The last-named author, Hugh 
 Holland, thus sings : 
 
 " Done are Shakespeare's days ; 
 His days are done that made the dainty plays, 
 Which made the Globe of heaven and earth to ring : 
 Dried is that vein, dried is the Thespian spring, 
 Turn'd all to- tears, and Phoebus clouds his rays : 
 That corpse, that coffin, now bestick those bays, 
 What crown'd him poet first, then poet's king." 
 
 In 1632, the year of the publication of the second 
 folio, John Milton, dedicated a sonnet (published in the 
 folio) to the memory of that admirable dramatic poet, 
 William Shakspere; and in 1645, * n his L' Allegro, he 
 paid him another tribute in the words 
 
 " Then to the well-trod stage anon 
 If Jonson's learned sock be on, 
 Or sweetest Shakspere, fancy's child, 
 Warble his native wood-notes wild." 
 
 In 1633, was published the celebrated His tiro- Matrix, 
 the Player's Scourge, by William Prynne. In this volume 
 there is a direct allusion to Shakspere's collected Works 
 and to their popularity, for Prynne says in his address 
 to the Christian reader, " Some play-books since I first 
 undertook this subject are grown from quarto into folio, 
 which yet bear so good a price and sale, that I cannot 
 
1 6 SHAKSPEREAN STATISTICS. 
 
 but with grief relate it, they are now printed in far better 
 paper than most octavo or quarto bibles, which hardly 
 find such vent as they/' The two folios at that time pub- 
 lished, viz. : the first and second were the only dramatic 
 folios then extant, and there can be no question that the 
 allusion is more particularly made to the second folio. 
 The earliest folio edition of the works of any other 
 dramatist, was that of Ben Jonson's, whose plays, 
 masques and poems were first collected and published 
 in 1640. The works of Beaumont and Fletcher were 
 not collected and published in folio until the year 1647. 
 
 From the year 1633 to the commencement of the 
 Civil War, the court favour and protection was bestowed 
 upon dramatists and dramatic representations in direct 
 opposition to the middle classes, who were strongly 
 opposed to plays and players. Among the middle 
 classes the elements of Puritanism were very strongly 
 developed, and upon all occasions they sought to put a 
 stop to dramatic entertainments. The Puritans pos- 
 sessed two motives in attacking the drama ; for not only 
 was their democracy political, but it was also strongly 
 religious. In 1642, the theatres were closed by the order 
 of the Puritans, who, unfortunately in their blind zeal and 
 fanaticism, attacked that which was good as well as that 
 which was bad. The white heat of religious passion 
 with which the Puritans were filled, and the great 
 austerity of manners which they assumed, served to pro- 
 duce a one-sidedness of mental vision, which generated 
 the opinion that nought good could be seen, felt or 
 experienced, except in their own peculiar way, and thus 
 was the enacting of stage plays sought to be prevented, 
 and the poor player's art prohibited by law, because the 
 Puritans affirmed it would be dangerous to the mental, 
 moral and spiritual well-being of the State. 
 
SHAKSPEREAN STATISTICS. 17 
 
 In 1646, in a work called The Times Displayed, a poem 
 in six sestyads, by S. Sheppard, in the Qth stanza of the 
 last sestyad, the author thus alludes to Shakspere : 
 
 " See him whose tragick sceans Euripides 
 Doth equal, and with Sophocles we may 
 Compare great Shakspear : Aristophanes 
 Never like him his fancy could display, 
 Witness the Prince of Tyre, his Pericles." 
 
 In 1647, owing to the former Act not having com- 
 pletely effected the purpose for which it was passed, 
 another edict of a still more stringent character was 
 passed by the Puritans, who thus thought, though 
 thinking wrongly, that they could stamp out the actor's 
 calling. Not only were the actors subject to imprison- 
 ment as rogues and vagabonds, but any person caught 
 witnessing a performance was subject to a fine, for the 
 payment of which the magistrate could distrain upon the 
 offender's goods. During the whole of the period of the 
 Commonwealth the players only played by stealth, all 
 attempts of a public nature being rigidly suppressed. 
 
 In 1659 the theatres were again opened, and in the 
 year 1 660 there were three companies playing in London, 
 viz. : the Red Bull, Killigrew's, and Davenant's. By 
 these companies fifteen of Shakespere's plays were re- 
 presented, a proof of the author's enduring popularity. 
 The list embraces, Henry 7F1, The Merry Wives of 
 Windsor, Othello, Julius Ccesar, Pericles, Macbeth, The 
 Tempest, Lear, Hamlet, Romeo and Juliet, Henry VIII., 
 Twelfth Night, Taming of the Shrew, Henry V. y and a 
 Midsummer Night's Dream, 
 
 In 1668 appeared John Dryden's Essay on Dramatic 
 Poetry, in which Dryden puts Shakspere above all modern 
 
 c 
 
I S SHAKSPF.REAN STATISTICS. 
 
 poets, and perhaps some ancient, as possessing "the 
 largest and most comprehensive soul. All the images 
 of nature were still present to him, and he drew them 
 not laboriously, but luckily ; when he describes anything, 
 you more than see it, you feel it." In 1675, Edward 
 Phillips, nephew of the poet Milton, published his 
 Theatre Poetarum, and among his criticisms upon the 
 dramatic writers, he thus speaks of William Shakspere, 
 " the glory of the English stage ; whose nativity at 
 Stratford-upon-Avon is the highest honour that town 
 can boast of; from an actor of tragedies and comedies, 
 he became a maker, and such a maker, that though some 
 others may pretend to a more exact decorum and 
 economy, especially in tragedy, never any expressed a 
 more lofty and tragic height, never any represented 
 nature more purely to the life ; and where the polishments 
 of art are most wanting, as probably his learning was 
 not extraordinary, he pleaseth with a certain wild and 
 native elegance ; and in all his writings, hath an un- 
 vulgar style, as well in his Venus and Adonis, his Rape 
 of Lucrece, and other various poems, as in his dramatics/' 
 To Dryden and Phillips succeeded Rymer, Gildon, 
 Dennis and others, who made the works of Shakspere 
 the subject of their special criticism. In 1709, appeared 
 the first critical edition of Shakspere's Works, with life, 
 edited by N. Rowe, playwright and poet laureate to 
 Queen Anne. The critical part is extremely weak, the life 
 vague and indefinite, containing the deer-stealing, the 
 lampoon against Sir Thomas Lucy, the horse-holding and 
 other traditional stories which have since been handed 
 down. A second edition of this work was published 
 in 1714, and at that period, was regarded as the standard 
 edition of the poet's works, until the appearance of Pope's 
 edition in 1725, which, despite an excellent preface, and 
 
SHAKSPEREAN STATISTICS. 1 9 
 
 a few happy emendations, must be looked upon as 
 a failure. To Pope succeeded Theobald, whose edition 
 though decried by Pope, had a very rapid sale. It 
 was frequently reprinted, and not less than thirteen 
 thousand copies were sold of the first six editions. 
 Hammer, Warburton and Gibber were among the 
 editors during the eighteenth century ; the latter 
 author writing in 1740, thus speaking of the stage and 
 Shakspere, " What eager appetites from so long a fast 
 must the guests of those times have had to that high and 
 fresh variety of entertainments which Shakspere had left 
 prepared for them ! Never was such a stage so provided. 
 A hundred years are wasted, and another silent century 
 well advanced, and yet what unborn age shall say 
 Shakespeare has his equal." * 
 
 During the first half of the eighteenth century, the 
 works of Shakspere had a sale fourfold that of any other 
 author. Milton was put up by the so-called leaders of 
 literary taste, to be the great poet of our country, but 
 these pretenders knew not Shakspere, nor the hold his 
 works had gained on the affections and judgment of the 
 English nation. They did not perceive that the love of 
 his works, generated by their intense love of humanity 
 and the promotion of its interest, was deeply rooted in 
 the minds of the English people, from whence it could 
 not be torn, without disturbing the English nation, and 
 without destroying in no small degree, the phraseology 
 of common life. 
 
 To mention all the writers, during the eighteenth 
 century, who wrote upon and strove to improve the works 
 of the great bard is not in any way desirable, nor would 
 it prove a source of gratification. That they all did not 
 understand the master's works is certain, neither can it 
 be expected that they should have done so, for most of 
 them leant towards the classic drama of the schools, in- 
 * Gibber's Autobiography, p. 58. 
 
20 SHAKSPEREAN STATISTICS. 
 
 stead of the drama of humanity, of which Shakspere is 
 the one great master. The preserving of the classic 
 unities by the dramatist, with this class of critics was 
 the " be all and the end all," and they accordingly found 
 fault with Shakspere, who frequently disregards the 
 unities of time and space, though he faithfully preserves 
 the unity of character and feeling the individuality and 
 truth of nature. The frigid artificial school of Pope and 
 his followers, who sacrificed sense to sound, could find 
 but little in conjunction with their own pettiness, in the 
 works of the wondrous man of Stratford ; and it is not 
 in the least degree surprising that the cold classicality of 
 Addison, should be placed on a par with the ever- 
 breathing, life-giving characters of Father Will. 
 
 The closer attention which has been paid to the bard's 
 works since the time of Pope and Warburton, by a higher 
 class of critics, who possessed a deeper acquaintance 
 with the rich poetic treasures contained in our literature 
 and who also held the opinion, that, not only was 
 Shakspere to be distinguished by the splendour of his 
 parts, but that he was equally great in his treatment of 
 the whole. The labours of Mason, Douce and others, 
 prepared the way for the dissemination of that more 
 complete knowledge which marks the exertions of 
 Coleridge, Hazlitt, Knight, Collier, Singer, Dyce, 
 Staunton, Clarke, Lloyd, Wright and others, and which 
 has most fully developed the intense power, the energy, 
 the sweetness and, above all, the truthfulness of Shakspere. 
 This result has also been materially assisted by the move- 
 ment in Germany, which was inaugurated by Lessing 
 and Goethe, continued by Tieck, Schlegel and Gervi- 
 nus, and is now carried on by Lemcke, Bodenstedt, 
 Delius and Ulrici. 
 
 In 1840, the establishment of a Shakspere Society 
 gave a great impulse to the study of the works of 
 
SHAKSPEREAN STATISTICS. 21 
 
 Shakspere, and it also tended to produce a more correct 
 understanding of the wonderful power and knowledge 
 of human character, which those works contain. The 
 object of this society was the publishing of works 
 "illustrative of Shakspere, and the literature of his 
 time." During the twelve years of its existence, the 
 society published about 47 volumes, containing much 
 information relative to Shakspere and the nature of the 
 Shaksperean drama, furnishing examples of contem- 
 porary dramatists and also the sources from whence 
 Shakspere had derived some of the plots of his dramas, 
 though never any of their characterisation, thus fully 
 carrying out the purpose for which it came into 
 existence. In 1873, a new society was projected, and it 
 already promises to be highly successful. Its objects 
 are of a similar nature to the old society, and it 
 possesses an advantage in being more expansive in its 
 character. One new feature in connection with this 
 society, is the establishment of branches throughout the 
 United Kingdom, for the purpose of reading the plays, 
 so as to develope a knowledge of their construction and 
 also their relation to our language. Up to the present 
 time several branches have been established in some of 
 the principal towns, and the movement is being prose- 
 cuted most vi-gorously. Thus the wave of Shaksperean 
 lore among the multitude cannot fail to enhance their 
 knowledge, and to lead to a more correct and truthful 
 understanding of the works of the great dramatist ; for 
 the more they are read, studied and thought over, the 
 higher will be the estimation in which that true exponent 
 of humanity, William Shakspere, will be held, not only 
 by his fellow-countrymen, but by the largest portion of 
 the inhabitants of the civilized world. 
 
22 
 
 CHRONOLOGY OF SIIAKSPERE'S LIFE 
 AND WORKS. 
 
 1564. April 23rd, St. George's Day, is the reputed 
 day of birth. In the parish register of baptisms, at 
 Stratford, on the 26th of the month of April, occurs this 
 entry : William Shakspere, son of John Shakspere. It 
 was the custom of those days to baptize the infant children 
 early, for it was looked upon as a tempting of Providence 
 if it was not done at once ; the ceremony was therefore 
 usually performed within three or four days of the birth. 
 In the month of June of this year, the town of Stratford 
 was visited by the plague, which carried off 200 of the 
 inhabitants out of a population of 1,500. 
 
 1569. The Queen's players first visited Stratford, 
 at which time Shakspere' s father was high-bailiff. The 
 Earl of Worcester's players also paid a visit to Stratford 
 during this year. 
 
 1571. Shakspere sent to the Free Grammar School 
 of Stratford, where it is most "probable he acquired 
 what Latin he was master of/* 
 
 1573. The Earl of Leicester's players visited Strat- 
 ford. 
 
 1576. In this year two companies of players visited 
 Stratford, my lord of Warwick and the Earl of Leicester's. 
 
 1577. Lord Leicester's and Lord Warwick's com- 
 panies of players paid a visit to Stratford. Excepting 
 the year 1578, the town was annually visited by a 
 
SHAKSPEREAN STATISTICS. 23 
 
 company of players up to the year 1587, when no less 
 than five companies of players paid a visit to the town. 
 
 1578. In this year Shakspere left school ; his doing 
 so, being no doubt caused by the narrowness of his 
 father's circumstances. From this year to the time of 
 Shakspere leaving Stratford for London, there is no 
 record showing what pursuit or occupation he followed. 
 By Malone he is said to have been in a lawyer's office, 
 an opinion concurred in by the late Chief Justice 
 Campbell ; by Farmer and others he is said to have been 
 a butcher; by some he is said to have been a glover; 
 but the occupation he in all probability followed, was 
 that of a tiller of the soil, to which in Shakspere's time 
 was annexed that of a butcher, a glover and others of a 
 kindred nature. 
 
 1579. In this year was buried on the 4th of July, 
 Anne, sister of Shakspere ; for among the chamberlain's 
 accounts appears the following item : " for the bell and 
 pall for Mr. Shaxper's daughter viijd." 
 
 1582. Shakspere married Anne Hathaway, daughter 
 of Richard Hathaway, husbandman, of Shottery, in the 
 parish of Stratford. This marriage, the completion of 
 " the perfect ceremony of love's rite," would have been 
 celebrated before but for the ceremony of betrothal, 
 which was held to be more binding than it is at the 
 present day, for though it did not possess a legal 
 sanction, it was held in morals to be an engagement 
 that should not be broken. In The Old Wive's Tale, 
 by George Peele, there is a magic light to be blown 
 out by one who is neither maid, wife nor widow. " The 
 light is blown out by Venetia, not maid, because she is 
 betrothed ; not wife, because she is not married ; and 
 not widow, because he lives to whom she is betrothed/' 
 
24 SHAKSPEREAN STATISTICS. 
 
 In Measure for Measure the poet himself conveys this 
 impression of the importance of betrothal in the scene 
 where the Duke urges Mariana to keep the assignation 
 with Angelo : 
 
 " Nor gentle daughter, fear you not at all. 
 He is your husband on a pre-contract : 
 To bring you thus together 'tis no sin." 
 
 1583. Susanna, his daughter is born. This daughter 
 afterwards married in 1 607 Dr. John Hall, a physician 
 of the town of her nativity. 
 
 1585. His son Hamnet and his daughter Judith born. 
 Three children while Shakspere was still a minor. 
 
 1586. In this year Shakspere went to London. 
 Whether driven by the deer-stealing business, as related 
 by Rowe, or by the seemingly hopeless embarrassed 
 state of his father's affairs, or from a strong love of the 
 stage, caused in all probability by the actors' visits to 
 Stratford, it is now impossible to determine. That he 
 went to London and took to the stage is certain, and as 
 gossip Aubrey reports, " did act exceeding well/' The 
 same author also says that " he began early to make 
 essays at dramatic poetry, which at that time was very 
 low, and his plays took well." 
 
 1587. Shakspere is connected with a company of 
 players, of which his townsman, Thomas Green was a 
 member. Burbage, the great actor, a Warwickshire 
 man, was the principal in this company. 
 
 1589. The first part of King Henry VI. produced. 
 
 1590. Pericles, King of Tyre produced. 
 
 1591. The second and third parts of King Henry 
 VI., and the Two Gentlemen of Verona produced. 
 
 1592. The comedy of Errors, Love's Labour Lost 
 
SHAKSPEREAN STATISTICS. 25 
 
 and Love's Labour Won were produced. In all proba- 
 bility the latter title was but an early name for that play 
 which is now known as All's Well that Ends Well. 
 
 1593. Richard II. and Richard III. produced. In 
 this year was also published his Venus and Adonis, the 
 " first heir of his invention." 
 
 1594. Titus Andronicus and Midsummer Night's 
 Dream produced. In this year was first published 
 Lucrece. 
 
 1596. Taming of the Shrew, Romeo and Juliet and 
 King John produced. In this year died his son Hamnet, 
 aged 'eleven years. 
 
 1597. The Merchant of Venice and the first part of 
 Henry IV. produced. Shakspere in this year purchased 
 for ^60 from Mr. William Underhill, of Idlecote, New 
 Place, one of the best houses in Stratford. It had been 
 built by Sir Hugh Clopton, in the reign of Henry VII. 
 
 1598. The second part of Henry IV. and All's 
 Well that Ends Well produced. In this year an 
 amended version of Ben Jonson's play of Every Man 
 in his Humour was produced at the Blackfriars Theatre . 
 Shakspere, it is said, suggested this to his brother 
 dramatist and it led to a lasting affection between the 
 two play-wrights. The name of Shakspere is printed 
 first in the list of the dramatis personse, the character of 
 Knowell being undertook by the great dramatist. 
 
 1599. Henry V., and As You Like It produced. 
 The popularity of Shakspere' s name is shown by the 
 publication of a small collection of poems, some of which 
 were not by him, under the title of " The Passionate 
 
 D 
 
26 SHAKSPEREAN STATISTICS. 
 
 Pilgrim. This work was printed for W. Jaggard, and 
 was sold by W. Leake at the Greyhound, in Paule's 
 Churchyard, London. In this year Shakspere seems to 
 have had a share in the Globe Theatre, for according to 
 documents lately discovered by Mr. Halliwell, to get a 
 company and to keep them together, the Burbages 
 entered into a twenty-one years' partnership with 
 " those deserving men Shakspere, Hemings, Condall, 
 Philips and others, partners in ye proffi ttes of that they 
 call the house." Some years later, Shakspere also 
 became a proprietor in another theatre, for the breaking 
 up of Evans' company, " commonly called the Queene's 
 Majesties Children of the Chappell ; " the sons of Bur- 
 bage bought the lease of the Blackfriars Theatre, and 
 " placed men Players, which Hemings, Condall, Shaks- 
 pere and others," evidently on the same terms as they 
 enjoyed at the Globe, a partnership in the profits of the 
 House. 
 
 1600. Much Ado about Nothing and Hamlet pro- 
 duced. 
 
 1 60 1. The Merry Wives of Windsor and Twelfth 
 Night produced. Early in September in this year the 
 Poet's father, John Shakspere died, and was buried at 
 Stratford. 
 
 1602. Troilus and Cressida produced. In May of 
 this year, Shakspere purchased 107 acres of arable land 
 in the parish of Old Stratford, from William and John 
 Combe. In the latter part of this year, Shakspere made 
 two more purchases : one a cottage and its grounds near 
 New Place, from Walter Getley, and one messuage, two 
 barns, two gardens, and two orchards for ^60, from 
 Hercules Underhill. In July of this year the tragedy of 
 
SHAKSPEREAN STATISTICS. 27 
 
 Othello was performed before Queen Elizabeth, at 
 Harefield place, the seat of Lord Keeper Egerton, by 
 Burbridge's players, for which service they received 
 
 10. 
 
 1603. Henry VIII. produced. "The Tragical 
 Historie of Hamlet, Prince of Denmark, by William 
 Shakespeare. As it hath beene diverse times acted by 
 his Highnesse's servants in the Citie of London ; as also 
 in the two Universities of Cambridge and Oxford, and 
 elsewhere. At London, Printed for N. L. and John 
 Trundell, 1603. This edition in all probability was a 
 piracy, being made up from the actors taken during the 
 the performance and from a surreptitious use of the 
 prompter's book. 
 
 1604. Measure for Measure produced. Shakspere 
 in this year brought an action against Philip Rogers 
 for^i. 155". lod. for malt sold and delivered to him at 
 several times. 
 
 1605. Shakspere in this year made the largest 
 purchase he ever completed, giving the sum of 440 for 
 the unexpired term of a moiety of a lease, granted in 
 1544 for 92 years, of the tithes of Old Stratford, Bishop- 
 ton and Welcombe. Augustine Philips, in his will dated 
 May of this year, " gives to my fellowe, William Shaks- 
 peare, a thirty-shillings peece of gould." 
 
 1606. Macbeth and King Lear produced. 
 
 1607. Julius Caesar produced. In this year Shak- 
 pere's eldest daughter, Susannah, was married on June 
 5th, to Dr. John Hall, a physician of her native town. 
 Also in this year the Poet's youngest brother, Edmund, 
 a fellow-actor died, and was buried in the church of St. 
 Mary, Overy, Southwark, on the 3ist of December. 
 
28 SHAKSPEREAN STATISTICS. 
 
 1608. Antony and Cleopatra produced. In this 
 year died the Poet's mother, and was laid in her grave 
 on September gth, seven years and a day after the burial 
 of her husband. On October loth, Shakspere stood 
 sponsor for his godson, William Walker, to whom in his 
 will he bequeathed " 2os. in gold." In all probability 
 Shakspere took up his residence in his native town 
 this year, no mention being made of his sustaining 
 any parts upon the stage after 1 604. The grand-daughter 
 of Shakspere, was born in this year, being the daughter 
 of John and Susanna Hall. Three editions of the 
 tragedy of King Lear were published during this year, 
 thus demonstrating the popularity of Shakspere as a 
 dramatist. This is further evidenced by the fact of the 
 third edition of Richard II., a fourth edition of Richard 
 III., and a fourth of Henry IV., part i, being also pub- 
 lished in this year. In addition, the Yorkshire Tragedy 
 was published with the name of Shakspere on the title- 
 page, thus furnishing further proof of his name being a 
 popular one in the book market. 
 
 1609. On March 15, Shakspere sued John Adden- 
 brooke in the Stratford court for a debt of ^6, and 24$. 
 damages and costs. Owing to the absence of the debtor, 
 Shakspere sued his surety, Thomas Horneby, on the yth 
 of June following. In this year Cymbeline was produced 
 and the sonnets were first published by T. T., Thomas 
 Thorpe, who evidently did not obtain them direct from 
 their author. 
 
 1 6 10. Coriolanus and Timon of Athens produced. 
 During this year Shakspere interested himself in the 
 advancement of public improvements in connexion with 
 Stratford, for in a list of donations " collected towards 
 the charge prosecutyng the bill in parliament for the 
 
SHAKSPEREAN STATISTICS. 29 
 
 better repair of the high waes," the name of " Mr. William 
 Shackspere" occurs. Othello was performed at the 
 Globe Theatre during this year. 
 
 1611. On November ist, The Tempest was played 
 before King James, by his majesty's players for the first 
 time ; and on November 5th, was produced and played 
 before the king, by the same company, The Winter's 
 Tale. 
 
 1612. In March of this year, Shakspere bought a 
 house in the Blackfriars from Henry Walker, "abutting 
 on the east part, right against the King's Majesty's 
 Wardrobe." 
 
 1613. In this year the Globe Theatre was burnt 
 down during the performance of Henry VIII. In this 
 year too died the poet's brother, Richard Shakspere, and 
 was buried in the parish churchyard of Stratford. 
 
 1614. This was a busy year for Shakspere, his time 
 being much occupied on business relating to proposed 
 enclosure of common lands near Stratford. In the sum- 
 mer of this year a great fire occurred in Stratford, and 
 fifty-four houses were burnt down, but no property 
 belonging to Shakspere was injured. Among the owners 
 of property claiming compensation relative to enclosure 
 the name of Mr. Shakspere occurs among the "auncient 
 freeholders in ffields of Old Stratford and Welcombe." 
 
 1615. During this year, Shakspere was also much 
 occupied with the question of enclosure, for Mr. Thomas 
 Greene, Clerk to the Stratford Corporation, who was sent 
 to London on this business, writes September ist, that 
 "Mr. Shakspere told Mr. Green that he was not able to 
 bear the enclosing of Welcombe." Among the notes 
 
30 SHAKSPEREAN STATISTICS. 
 
 during his stay in London, he says, date November i yth, 
 " My cosen Shakspear comying yesterday to town, I 
 went and to see him how he did. And he and Mr. Hall 
 say they think there will be nothing done at all." 
 
 1616. On the loth of February, Judith, the youngest 
 daughter of Shakspere, was married to Thomas Quiney, 
 a vintner and wine-merchant at Stratford. On the 23rd 
 day of April in this year, Shakspere died, aged 52 years, 
 and was buried two days afterwards in the chancel of 
 Stratford Church. 
 
A LIST OF SHAKSPERE PLAYS AND POEMS, 
 
 WITH THE NUMBER OF LINES 
 
 CONTAINED IN EACH. 
 
 The Tempest . . . . 2015 
 
 Two Gentlemen of Verona .. 2193 
 
 The Merry Wives of Windsor . . 2634 
 
 Measure for Measure . . . . 2660 
 
 The Comedy of Errors . . . . 1752 
 
 Much Ado about Nothing . . 2502 
 
 Love's Labour's Lost . . . . 2655 
 
 A Midsummer Night's Dream . . 2102 
 
 The Merchant of Venice .. 2554 
 
 As You Like It . . . . 2608 
 
 The Taming of the Shrew . . 2552 
 
 All's Well that Ends Well . . 2737 
 
 Twelfth Night . . . . 2428 
 
 The Winter's Tale . . . . 2925 
 
 King John . . . . . . 2595 
 
 Richard II. . . . . 2755 
 
 Henry IV., part i . . . . 2868 
 
 ,y 2 .. .. 3175 
 
 V. .. .. 3180 
 
 VI., part i . . . . 2676 
 
 >, 2 .. .. 3175 
 
 
 
 Richard III. . . . . . . 3609 
 
 Henry VIII. . . . . 2806 
 
 Troilus and Cressida . . . . 3329 
 
 Coriolanus . . . . 3285 
 
 Titus Andronicus .. .. 2517 
 
32 SHAKSPEREAN STATISTICS. 
 
 Romeo and Juliet . . . . 2982 
 
 Julius Csesar . . . . 2436 
 
 Timon of Athens , . . . 2289 
 
 Macbeth . . . . . . 2093 
 
 Hamlet . . . . . . 3661 
 
 King Lear . . . . . . 3208 
 
 Othello . . . . . . 3229 
 
 Antony and Cleopatra .. .. 3014 
 
 Cymbeline . . - . . . . 3265 
 
 Pericles .. .. .. 2329 
 
 Venus and Adonis . . . . 1194 
 
 The Rape of Lucrece . . . . 1855 
 
 The Sonnets .. .. 2156 
 
 A Lover's Complaint . . . . 329 
 
 The Passionate Pilgrim . . . . 442 
 
 The Phcenix and the Turtle . . 67 
 
 108,016 
 
 The tragedy of Hamlet contains the greatest number 
 of lines, 3661 ; Richard III. the next greatest number, 
 3609. The Comedy of Errors contains the least number, 
 1752. The longest act in any of the plays is found in 
 Richard III., the first act containing 1061 lines. The 
 longest scene is in Love's Labour Lost, scene II., act 2, 
 containing 918 lines. 
 
33 
 
 DATE OF THE PLAYS WHEN FIRST PRINTED. 
 
 1594. Henry VL, part 2. 
 
 1595. Henry VI., part 3. 
 
 1597. Romeo and Juliet. 
 Richard II. 
 Richard III. 
 
 1598. Love's Labour Lost. 
 Henry IV., part i. 
 
 1599. Henry IV., part 2. 
 
 1600. Henry V. 
 
 The Merchant of Venice. 
 
 Titus Adronicus. 
 
 Much Ado about Nothing. 
 
 A Midsummer Night's Dream. 
 
 1602. The Merry Wives of Windsor. 
 
 1603. Hamlet. 
 1605. King Lear. 
 
 1609. Troilus and Cressida. 
 Pericles. 
 
 1622. Othello. 
 
 1623. The following were first printed in the 
 collected edition of Hemings and Condall : All's Well 
 that Ends Well ; Antony and Cleopatra ; As You 
 Like It ; Comedy of Errors ; Coriolanus ; Cymbeline ; 
 Henry VI., part i ; Henry VIII. ; Julius Caesar ; King 
 John ; Macbeth ; Measure for Measure ; The Taming of 
 the Shrew ; The Tempest ; Timon of Athens ; Twelfth 
 Night ; Two Gentlemen of Verona ; and The Winter's 
 Tale. 
 
I 34 ) 
 
 THE FOUR FOLIOS AND THE EARLY QUARTO 
 EDITIONS* WITH THEIR RELATIVE VALUES. 
 
 THE FIRST EDITION, 1623. 
 
 Mr. William Shakespeare's Comedies, Histories and 
 Tragedies. Published according to the true original 
 copies. London : Printed for Isaac Jaggard and Edward 
 Blount, folio, price i . This edition contains 36 plays, 
 for Pericles was not printed in any collected edition 
 until the third. 
 
 The price of this volume has materially increased 
 since the commencement of the present century. During 
 the latter half of the eighteenth century some 20 copies 
 or more were sold by auction, realising prices ranging 
 from 1 8 to 50. Most of these copies were wanting in 
 some little particular, such as a perfect title, the verses 
 of Ben Jonson, or, occasionally, the last leaf, which was 
 supplied in fac-simile. One fine and perfect copy was 
 sold for ^85, which, when re-sold in 1847 produced 155- 
 Within the last twenty years the price has gone up con- 
 siderably, and sums, varying from ^250 to ^400 have 
 been paid for a fine, tall copy. The highest price ever 
 given for this precious volume was at the sale of Mr. 
 George Daniel's Shakspere library, in August, 1864, 
 when his copy fetched ,716, and was bought for Miss 
 Burdett Coutts, now Baroness Burdett Coutts. This 
 copy was said to be a marvellous volume of unrivalled 
 beauty, and unquestionably the finest one that had been 
 offered for sale. At the sale of the Earl of Charlemont's 
 
SHAKSPEREAN STATISTICS. 35 
 
 library by Messrs. Sotheby, Wilkinson and Hodge, in 
 1865, a fi ne copy of this edition, with the exception of 
 the last figure in the date of the title, was knocked down 
 to Mr. Ellis, the bookseller, for ^455. 
 
 THE SECOND EDITION, 1632. 
 
 Mr. William Shakespeare's Comedies, Histories 
 and Tragedies. Published according to the true ori- 
 ginal copies. The second impression. London : 
 printed by Thomas Cotes, for Robert Allot, and 
 are to be sold at his shop at the signe of the 
 Black Beare, in St. Paule's Churchyard, folio. In the 
 printing of this edition there were several booksellers 
 mixed up with the transaction, so that each one had 
 separate titles worked off with their own names, thus 
 accounting for the various publishers who had a place 
 on the title, such as Hawkins, Smethwick, Aspley and 
 others. 
 
 The price of copies of this edition is steadily rising. 
 The great demand for the early folios by Shaksperean 
 critics at home, and also the demand which has arisen 
 among the Americans, who hold the works of Shakespere 
 in very high estimation, combined with the inevitable 
 wear of time, has effected a great change. Good copies 
 thirty years ago could be purchased at prices varying 
 from ^10 to ^20, but now a fine copy would fetch at 
 least ,50, and it is not an unfrequent occurrence to find 
 that price set to a copy in a bookseller's catalogue. 
 In 1 848, Mr. Thorpe bought a copy at Neville Holt's 
 sale, which he sold to Mr. George Daniel, at whose sale 
 in 1864 it fetched the remarkable sum of ^148. 
 
 THE THIRD EDITION, 1663-4. 
 
 Mr. William Shakespeare's Comedies, Histories and 
 
6 SHAKSPEREAN STATISTICS. 
 
 Tragedies. Published according to the true original 
 copies. The third impression. London : printed for 
 P. C., folio. 
 
 This edition contains seven more plays than the first 
 or second folios, both those editions omitting Pericles and 
 the six plays now received as spurious, viz. : The London 
 Prodigal ; The History of Thomas, Lord Cromwell ; Sir 
 John Oldcastle, Lord Cobham ; The Puritan Widow; 
 A Yorkshire Tragedy ; and the Tragedy of Locrine. 
 Two distinct impressions exist of this edition, the one 
 bearing date 1663, without the seven plays, printed for 
 Philip Chetwinde, and the other bearing date 1664. 
 Copies of this edition are said to be very scarce, owing 
 to a large number being destroyed in the great fire of 
 London ; but this statement is by no means universally 
 believed in. Some of the variations which occur in the 
 text of this edition, have been attributed to Ben. Jonson 
 and John Milton, but this is purely conjecture. Formerly 
 copies of this edition could be bought for j or ^8, till 
 within the last twelve years, and now a good perfect 
 copy is worth at least 40. Mr. Daniel's copy, a very 
 good one, at his sale realized 
 
 THE FOURTH EDITION, 1685. 
 
 Mr. William Shakespeare's Comedies, Histories and 
 Tragedies, published according to the true original 
 copies. Unto which is added seven plays, never before 
 printed, in folio, viz. : Pericles, Prince of Tyre. The 
 London Prodigal. The History of Thomas, Lord 
 Cromwell. Sir John Oldecastle, Lord Cobham. The 
 Puritan Widow. A Yorkshire Tragedy. The Tragedy 
 of Locrine. London : printed for H. Herringman, 
 E. Brewster, R. Chiswell and R. Bentley, at the Anchor, 
 
SHAKSPEREAN STATISTICS. 37 
 
 in the New Exchange ; the Crane, in St. Paul's Church- 
 yard ; and in Russell Street, Covent Garden. 
 
 This edition is but a reprint of the third, with this 
 difference, that it is distinguished by a greater number 
 of errors in its text and by its title. The original portrait 
 of Shakspere was used for this edition, being re-touched, 
 and was printed on a leaf preceding the title with the 
 verses of Ben. Jonson placed below it. Like the other 
 folio editions, this one has also rose in price, for twenty 
 years ago copies could be bought for 4. or ^5. which 
 would now be asked 16. to 20. for. Mr. Daniel's copy 
 at his sale realized 20. IDS. 
 
 " The Tragedie of King Richard the Second, as it 
 hath beene publicly acted, by the Right Hon. the Lord 
 Chamberlaine, his seruants." First edition, 4to., 1598, 
 was sold at Mr. Daniel's sale for 351. 5$.* A copy of 
 the second edition, the same year, fetched 108. 3*. 
 
 " The Tragedie of King Richard the Third, containing 
 his treacherous plots against his brother Clarence ; the 
 pittieful murder of his innocent nephews ; his tyrannical 
 usurpation, with the whole course of his detested life and 
 most deserved death. As it hath beene lately acted by 
 the Right Hon. the Lord Chamberlaine his seruants." 
 First edition, 4to., 1597. Only two or three perfect 
 copies known. 
 
 "A Pleasant Concerted Comedie, called Love's La- 
 bor's Lost, as it was presented before her Highness this 
 last Christmas, newly corrected and augmented by 
 W. Shakespere." The first edition, 4to., 1598. The 
 finest copy known ^346. los. 
 
 "The History of Henrie the Fourth, with the 
 
 * The prices given for each copy are those realized at Mr. George 
 Daniel's sale, in 1864, unless otherwise specified. 
 
38 SHAKSPEREAN STATISTICS. 
 
 Battell at Shrewsburie betweene the King and Lord 
 Henry Percy, surnamed Henry Hotspur of the North, 
 with the humororous conceits of Sir John Falstaffe," 
 4to., 1598. A copy of the second edition, 4to., 1599, 
 115. los. 
 
 " The Second Part of Henrie the Fourth, continuing 
 to his death, and Coronation of Henrie the Fifth, with 
 the humours of Sir John Falstaffe, and swaggering 
 Pistoll. As it hath been sundrie times publicly acted 
 by the right honourable, the Lorde Chamberlaine, his 
 seruants." The first edition, 4to.,^4O. 
 
 "The Most Excellent and Lamentable Tragedie of 
 Romeo and Juliet, as it hath bene sundry times pub- 
 liquely acted, by the Right Hon. the Lord Chamber- 
 laine, his seruants." The first complete edition, 4to., 1599, 
 52. xos. 
 
 "The Chronicle History of Henry the Fifth, with 
 his Battell fought at Agin Court in France, togither 
 with Auntient Pistoll, as it hath beene sundry times 
 played by the Right Hon. the Lord Chamberlaine, his 
 seruants." The first edition, 4to., 1 600, ; 23 1 . 
 
 "The Most Excellent Historic of the Merchant of 
 Venice, with the extreame crueltie of Shylocke, the Jew, 
 towards the sayd merchant, in cutting a just pound of 
 his flesh, and the obtayning of Portia by the choyse of 
 three chests. As it hath beene divers times acted by 
 the Lord Chamberlaine, his seruants." The first edition, 
 a very fine copy, 4to., 1600, ,94. IQS. 
 
 " Much Adoe about Nothing, as it hath been sundrie 
 times publicly acted by the Lord Chamberlaine, his ser- 
 uants." The first edition, 4to., 1600,^267. 15^. 
 
 "The Midsommer Night's Dreame, as it hath beene 
 sundry times publickely acted by the Lord Chamberlaine, 
 his seruants." The first edition, 4to., 1600, ^241. 10^. 
 
SHAKSPEREAN STATISTICS. 39 
 
 A second edition of the above, printed by James Roberts, 
 and published in the same year, 4to., 36. 
 
 "A most pleasant and excellent conceited Comedie of 
 Syr John Falstaffe and the Merrie Wives of Windsor, 
 entermixed with sundrie variable and pleasing humours 
 of Syr Hugh, the Welch Knight, Justice Shallow, and 
 his wise cousin, Mr. Slender. With the swaggering 
 vaine of Auncient Pistoll and Corporall Nym. As it 
 hath bene divers times acted by the Lord Chamberlaine 
 his seruants, both before Her Majestie and elsewhere." 
 The first edition, 4to., 1602,^346. los. 
 
 Only three perfect copies are known to exist of this 
 Comedy in the original state that it was placed before 
 her Majesty, Queen Elizabeth, at Windsor Castle. 
 
 " The True Chronicle Historic of the life and death 
 of King Lear and his three Daughters, with the vn- 
 fortunate life of Edgar, sonne and heire to the Earle of 
 Gloster, and his sullen and assumed humour of Tom of 
 Bedlam. As it was played before the King's Majestie 
 at Whitehall, vpon S. Stephan's night in Christmas 
 Hollidayes, by his Majestie's seruants playing vsually 
 at the Gloabe on the Banckside." The first edition, 4to., 
 1608,^29. &s. 
 
 " The late and much admired Play, called Pericles, 
 Prince of Tyre. With the true relation of the whole 
 History, Adventures, and Fortunes of the said Prince ; 
 as, also, the no lesse strange and worthy accidents in the 
 birth and life of his daughter Mariana, as it hath bene 
 divers and sundry times acted by his Majestie's seruants, 
 at the Gloabe, on the Banckside." The first edition, 4to., 
 1609,^84. 
 
 "The Famous History of Troylus and Cresseid. 
 Excellently expressing the beginning of their loves, with 
 
40 SHAKSPEREAN STATISTICS. 
 
 the concerted wooing of Pandarus of Licia." 77/6' first 
 edition, 4to., 1609,^114. gs. 
 
 "The Tragical History of Hamlet, Prince of Denmark. 
 As it hath beene diverse times acted by his Highnesse 
 servants in the Cittie of London ; as also in the two 
 Vniversities of Cambridge and Oxford, and elsewhere." 
 The first edition, 4to., 1 603, 1 20. 
 
 This copy was bought by Mr. HalliwelL of Mr. Boone, 
 a bookseller in Dublin, and it is wanting in the title- 
 page. But one other copy is known to be in existence, 
 and that is in the possession of the Duke of Devonshire. 
 This copy is wanting in the last leaf. 
 
 " The Tragedy of Hamlet, Prince of Denmark, newly 
 imprinted and enlarged to almost as much again as it 
 was, according to the true and perfect copy." The fifth 
 edition, 4to., 1611,^28. 75. 
 
 "The most lamentable Romaine Tragedie of Titus 
 Andronicus. As it hath sundry times beene playde by 
 the Right Honourable the Earle of Pembroke, the Earle 
 of Darbie, the Earle of Sussex, and the Lord Chamber- 
 laine, their seruants." The second edition, 4to., 1611. 
 A second copy of the third edition at Mr. Daniel's sale 
 fetched ^3 1. los. 
 
 " The Tragedy of Othello, the Moore of Venice, as it 
 hath beene diverse times, acted at the Globe, and at the 
 Blackfriers, by his Maiesties servants." The first edition, 
 4to., 1622, 155. 
 
 " Venus and Adonis," the second edition, 4to., 1594, 
 240. The third edition, 4to., 1 596, 3 1 5 . 
 
 "Lucrece," the first edition, 4to., 157. ios. 
 
 "The Sonnets," the first edition, 4to., ^225. 15^. 
 
 "The Passionate Pilgrim," i6mo., 1599. But one 
 copy is known to be in existence, and that is among the 
 
SHAKSPEREAN STATISTICS. 41 
 
 Capell collection. Of the second edition no copy is 
 known. In 1612 a third edition was printed by W. 
 Jaggard, in i6mo., to which was added "Two Love 
 Epistles, the first from Paris to Hellen, and Hellen 
 answere backe againe to Paris." 
 
THE OTHER COLLECTED EDITIONS. 
 
 Rowe's, 7 vols., 8vo., plates . . . . 1709 
 
 Unfortunately the text of this edition is based upon the fourth 
 folio, the worst text of all the folios, nor did Rowe correct but very 
 few of its errors. To this edition Rowe prefixed a life of Shakspere, 
 with an account of his writings. The seventh volume contains the 
 Poems, with Critical Remarks upon each of the plays ; to which 
 also is prefixed an Essay on the Art, Rise, and Progress of the 
 Stage in Greece, Rome, and England, by C. Gildon. 
 
 Rowe's, 9 vols., 1 2mo., second edition y plates 1714 
 
 Volume nine contains the same matter in this edition as volume 
 seven of the first. 
 
 Pope's, 6 vols., 4to. .. .. .. 1723-25 
 
 To this edition a seventh volume was added, with the following 
 title: "The Works of Mr. William Shakespear. The seventh 
 volume containing Venus and Adonis, Tarquin and Lucrece, and 
 Mr. Shakespear's Miscellany Poems. To which is prefix'd, An Essay 
 on the Art, Rise, and Progress of the Stage, in Greece, Rome, and 
 England. And a Glossary of the Old Words us'd in these Works. 
 The whole Revis'd and Corrected, with a Preface, by Dr. Sewell. 
 London : Printed by Darby for Bettesworth." 
 
 Pope's, second edition, iovols., i2mo., plates 1728 
 
 Pope's, third edition, 9 vols., 1 8mo., plates . . 1731 
 Theobald's, 7 vols., &vo. y plates . . . . 1733 
 
 The plates to this edition are very curious and valuable, for they 
 display the costume of the period and the mode of dressing the 
 characters upon the stage. 
 
SHAKSPEREAN STATISTICS. 43 
 
 Pope's, fourth edition, 8 vols., 121110., plates . . i?35 
 Theobald's, second edition, 8 vols., i2mo., plates 1740 
 Hanmer's, 6 vols., 4to., plates 1740 
 
 The text of Hanmer's edition is based upon that of Pope's, and 
 it is even more wild in its conjectural criticism. 
 
 Hanmer's, second edition, 6 vols., 4to., plates . . 1 743 
 
 Hanmer's, third edition, 6 vols., 4to. 1744-46 
 
 Hanmer's,/^;'/^ edition, 6 vols., 8vo. . . 1745 
 
 Hanmer's, fifth edition, 9 vols., i8mo., plates . . 1747 
 
 Warburton's, 8 vols., 8vo. . . .. 1747 
 
 The text of this edition, like that of Hanmer's, is also based 
 upon that of Pope's, and is of but little value from a critical point of 
 view. 
 
 Pope and Warburton's, 8 vols., 8vo. . . 1747 
 
 Oxford edition, 8 vols., 241110. . . . . 1747 
 
 Hanmer's, sixth edition, 9 vols., i2mo. . . 1748 
 Hanmer's, seventh edition, 9 vols., i2mo. . . 1750-51 
 
 Theobald's, third edition, 8 vols., i2mo., plates 1752 
 
 Theobald's, fourth edition, 8 vols., I2mo. t plates 1752 
 
 Blair's, 8 vols., 1 2mo. .. . .. 1753 
 
 Hanmer's, eighth edition, 9 vols., i8mo. . . 1760 
 
 Blair's, 8 vols., 1 2mo. .. .. .. 1761 
 
 Theobald's, fifth edition, 8 vols., \2rnv., plates 1762 
 
 Johnson's, 8 vols., 8vo. . . . . . . 1765 
 
 With this edition appeared Johnson's ponderous preface for 
 the first time. At the date of its publication it was universally 
 admired and looked upon as a remarkable effort of Shaksperean 
 criticism. Its popularity has now passed away, for the learned 
 doctor evidently by his work misunderstood the poet, nor had he 
 shaken off the trammels of the classic school. There is but little 
 in the preface to compensate the reader for his trouble. 
 
 Pope's, fifth edition, 8 vols., i2mo. . . 1766 
 
 Johnson's, second edition, i o vols., 8 vo. .. 1766 
 
44 SHAKSPEREAN STATISTICS. 
 
 Theobald's, sixth edition, 8 vols., 121110., plates 1767 
 
 Edinburgh, 10 vols., i2mo. .. .. 1767 
 
 Capell's, 10 vols., crown 8vo. . . . . 1767 
 
 The text of this edition is said to be printed from that of the 
 first folio and the quartos, for the title runs " Mr. William Shakspere, 
 his Comedies, Histories and Tragedies, set out by himself in quarto, 
 or by the Players in folio, and now faithfully republished from these 
 editions, in 10 volumes, octavo ; with an Introduction. Whereunto 
 will be added in some other volumes, Notes, critical and explanatory, 
 and a body of various readings, entire, by E. Capell." These 
 notes and readings were not published till the year 1779, when they 
 were brought out in quarto. Hartshorne thus remarks on Capell's 
 Introduction: "There is not even among the various publications 
 of the present literary era, a more singular composition than this 
 Introduction. Its style and manner is actually more obsolete and 
 antique than that of the age of which it treats. Taken in com- 
 bination with the title-page, it gives us, however, a perfect index to 
 the contents of the work : and it began to rouse the attention of 
 scholars, and to interest them in Shaksperean studies." 
 
 Pope's, sixth edition, 9 vols., 12 mo. . . 1768 
 
 Johnson's,* second- edition, 8 vols., 8vo. .. 1768 
 
 * The prices which the London booksellers have paid to the dif- 
 ferent editors of Shakspere are not generally known. Up to the 
 date of the second edition of Johnson, the prices prove that the poet 
 had enriched those who had impoverished him. 
 
 Mr. Rowe was paid . . . . ^36 10 o 
 
 Hughes 2870 
 
 Pope 217 12 o 
 
 Fenton . . . . . . 30 14 o 
 
 Gay 35 17 6 
 
 Whalley , . . . . . 12 o o 
 
 Theobald . . . . . . 652 10 o 
 
 Warburton . . . . . . 560 o o 
 
 Capel .... ,, .. 300 o o 
 
 Dr. Johnson, ist edition .. .. 375 o o 
 
 2nd edition .. ., .. 100 o o 
 
 ^2348 10 6 
 
 Besides this amount very considerable sums have been paid to 
 critics without criticism, and commentators without a name. 
 
SHAKSPEREAN STATISTICS. 45 
 
 Blair's, 8 vols., i2mo. . . . . . . 1769 
 
 Balfour's, 8 vols., i2mo. .. .. 1769 
 
 Hanmer's, ninth edition, 6 vols., 4to., plates . . 1770 
 
 Blair's, 8 vols., 8vo. . . . . . . 1771 
 
 Ewing's, 7 vols., 8vo. . . . . . . 1771 
 
 Theobald's, seventh edition, 12 vols., 12 mo. . . 1772 
 
 Theobald's, eighth edition, 12 vols., i2mo. . . N.D. 
 
 Theobald's, ninth edition, 8 vols., i2mo., plates 1773 
 
 Johnson and Steevens, 10 vols., 8vo. . . 1773 
 
 " This edition, in which were united the native powers of Dr. 
 Johnson, with the activity, sagacity, and antiquarian learning of 
 George Stevens, superseded all previous editions and became the 
 standard for future editors and publishers." 
 
 Bell's, Stage Edition, with scene and character 
 
 plates, 8 vols., 8vo. . . . . 1777-75 
 
 This edition is said to be "the worst ever published " ; never- 
 theless it had more success than any of its predecessors, 8,000 copies 
 being sold in one week. It was edited by the authors of the 
 Dramatic Censor, and contained Notes, Illustrative and Critical, 
 and an Essay on Oratory and Dramatic Performances. 
 
 Bell's, 9 vols., 12 mo., plates .. .. 1774 
 
 Johnson and Steevens, second edition, 10 vols., 8vo. 1778 
 
 Bathurst's, 12 vols., 8vo. . . . . 1778-80 
 
 Ayscough's, royal 8vo. .. .. .. 1784 
 
 Johnson and Steevens', third edition, edited by 
 
 Reed, 10 vols., 8vo. . . . . 1785 
 
 Nicols', 7 vols., i2mo. . . . . . . 1786 
 
 Rann's, 6 vols., 8vo. .. . . . . 1786-94 
 
 Bell's, second edition, n vols., i8mo., with scene 
 
 and character plates .. .. 1786-8 
 
 t Sell's, third edition, 20 vols., i8mo., with scene 
 
 and character plates .. .. 1788 
 
 Vyscough's, 2 vols., royal 8vo. . . 1790 
 
46 SHAKSPEREAN STATISTICS. 
 
 Malone's, 10 vols., 8vo. . . . . . . 1790 
 
 This edition was reputed to be the best at the time of its pub- 
 lication. It contained the corrections and illustrations of other 
 commentators who had preceded Malone. The text was carefully 
 revised from the most authentic copies. It also contained an essay 
 on the chronological order of Shakspere's plays ; an essay relative to 
 Shakspere and Ben Jonson ; a dissertation on the three parts of King 
 Henry VI., and an historical account of the English Stage. The 
 reputation which Malone acquired in his time of being a careful and 
 painstaking editor, if not a brilliant one, has been briskly attacked 
 by Dr. Symonds, a recent biographer of Shakspere. The learned 
 doctor says of Malone, " Neither the indulgent fancy of Pope, nor 
 the fondness for innovation in Hanmer, nor the arrogant and head- 
 long self-confidence of Warburton, has inflicted such cruel wounds 
 on the text of Shakspere as the assuming dulness of Malone. Bar- 
 barism and broken rhythm dog him at the heels wherever he treads." 
 
 Bellamy and Harrison's, 8 vols., 8vo., plates . . 1791 
 
 Ayscough's, 2 vols., royal 8vo. . . . . 1792 
 Johnson and Steeven's, fourth edition, edited by 
 
 Reed, 15 vols., 8vo. .. .. .. 1793 
 
 Malone's, 10 vols., i2mo. .. .. 1794 
 
 Blair's, 8 vols., 8vo., Edinburgh .. . . 1795 
 
 Blair's, 8 vols., 8vo., Glasgow .. . . 1795 
 
 Johnson's, Philadelphia, first American edition, 
 
 8 vols., 8vo. . . . . . . 1 795-6 
 
 Bellamy and Robert's, 8 vols., 8vo., with 74 
 character and scenic engravings and 6 
 
 allegorical plates, by various artists . . 1796 
 
 Edinburgh, 8 vols., 1 2 mo. .. .. 1797 
 
 Robinson's, 7 vols., imperial 8vo. .. .. 1797 
 
 Longman's, 6 vols., 8vo. .. .. .. 1797 
 
 Steevens', 8 vols., i2mo. .. .. .. 1797 
 
 Nichols', 9 vols., i8mo. .. .. .. 1798 
 
 Ogilvie's, 9 vols., i2mo. .. .. .. 1798 
 
 Baldwin's, 9 vols., 1 2mo. .. .. .. 1798 
 
SHAKSPEREAN STATISTICS. 47 
 
 Nichols', with prefaces to each play, 9 vols., 
 
 i2mo., . . . . . . 1798 
 
 Reed's, Basel's, 23 vols., 8vo. . . . . 1799 
 
 Brunswick, 8 vols., 8vo. . . . . . . 1799 
 
 with prefaces to each play, 9 vols., 
 
 i8mo. . . . . . . . . 1800 
 
 Bensley and Harding's, plates, by T. Stothard, 
 
 R.A., 12 vols., i8mo. . . . . 1800 
 
 Sharpens, miniature edition, 9 vols., 241110. . . 1800 
 
 Reed's, with 'woodcuts, 12 vols., i2mo. . . 1800 
 
 Zurich, 8 vols., 8vo. . . . . . . 1801 
 
 Boydell's, illustrated, 9 vols., atlas folio, 2 vols. 
 
 of plates extra .. ,. .. 1802 
 
 This edition is illustrated by 101 engravings from pictures of the 
 most eminent British artists of the period. The brushes of Sir 
 
 Joshua Reynolds, Fuseli, Romney, Northcote, Smirke, Peters, 
 
 Hodges, Hamilton, Stothard and others were employed in the 
 
 designs for this edition. A smaller edition in folio, the plates 
 reduced to a corresponding size, was afterwards published. 
 
 Boydell's, small folio, 9 vols., plates . . 1802 
 Johnson and Stevens', fifth edition, edited by 
 
 Reed, 21 vols., 8vo. . . . . 1803 
 
 Sharpe's, 9 vols., 241110. . . . . . . 1803 
 
 Steevens', Glossarial Notes, 20 vols., 8vo. . . 1803 
 
 Johnson and Steevens', 9 vols., i2mo. . . 1803 
 Scholey's, with woodcuts, by Thurston, 10 vols., 
 
 8vo. . . . . . . . . 1804 
 
 Bell's, 20 vols., i8mo., plates . . . . 1804 
 
 Steevens', Leipzig, 20 vols., i2mo. . . 1804 
 
 Turnbull, Edinburgh, 9 vols., i2mo. . . 1804 
 
 Chalmers', 9 vols., 8vo. . . . . . . 1805 
 
 Chalmers', 10 vols., i8mo. .. .. 1805 
 
 Miller's, Edinburgh, 2 vols., royal 8vo. . . 1806 
 
48 SHAKSPEREAN STATISTICS. 
 
 Manley Wood's, 14 vols., 8vo., illustrated with 
 
 72 plates . . . . . . . . 1806 
 
 Ayscough's, third edition, 2 vols., royal 8vo. 1807 
 
 Scholey's, second edition, woodcuts, 10 vols., 8vo. 1807 
 
 Ballantyne's, 12 vols., 8vo. . . . . 1807 
 
 Stockdale's, 6 vols., 4to. . . . . . . 1807 
 
 A reprint of the first folio . . . . 1 807 
 
 This edition was printed by J. Wright, St. John's Square, 
 London, and the paper was made specially, having the word 
 " Shakespeare" in the water-mark, in addition to the maker's name 
 and the date (1806). 
 
 Crutwell's, 4 vols., i2mo. . . . . . . 1807 
 
 Boston, U.S,, 9 vols., 8vo. . . . . 1807 
 
 Longman's, 12 vols., 8vo. . . . . . . 1807 
 
 Reed's, Philadelphia, 17 vols., 8vo. . . 1807 
 Reed's, Hood and Vernor, 12 vols., i2mo., wood- 
 cuts . . . . . . . . 1809 
 
 Sharpe's, 9 vols., 241110. . . . . . . 1810 
 
 Chalmers', 9 vols., 8vo. . . . . . . 1 8 1 1 
 
 Chalmers', Glossarial Notes, 10 vols., i8mo. . . 1811 
 
 Reed's, Cowrie and Co., 12 vols., i2mo. . . 1811 
 
 Steevens', 8 vols., i2mo. . . . . 1811 
 
 Walker's, 8 vols., i2mo. . . . . 1811 
 
 Reed's, 9 vols., 1 2 mo. .. .. .. 1811 
 
 Steevens', Nichols and Son, 8 vols., 241110., il- 
 lustrated with 1 6 engravings after T. Uwins 1 8 1 1 
 Chalmers', 9 vols., 8vo. . . . . 1812 
 
 Reed's, Tegg, 12 vols., i2mo. ,//#/? .. 1812-15 
 
 Johnson, Steevens, Reed and Malone's, 2 1 vols., 
 
 8vo. . . . . . . . . 1813 
 
 Reed's, Boston, U.S., 6 vols., i2mo. . . 1813 
 
 Reed's, Cowie, 12 vols,, 12 mo. . . . . 1814 
 
SHAKSPEREAN STATISTICS. 49 
 
 Steevens', Vienna, 20 vols., i2mo. . . 1814 
 Whittingham, 7 vols., i8mo., with 230 woodcuts 
 
 by Thurston . . . . . . 1814 
 
 Malone's, 16 vols., 8vo. . . . . 1816 
 
 Reed's, Edinburgh, 9 vols., i2mo. . . 1817 
 
 Reed's, New York, 10 vols., i2mo. . . 1817 
 
 Chalmers', 9 vols., 8vo. . . . . . . 1818 
 
 Rowe's, 8vo. .. .. .. .. 1818 
 
 Whittingham's, 7 vols., i8mo., woodcuts . . 1818 
 
 Whittingham's, 9 vols., i8mo. . . . . 1818 
 
 Bowdler's, Family Edition, 10 vols., i8mo. . . 1818 
 
 This is the first complete edition of Shakspere's works in which 
 those words and expressions are omitted which might cause pain or 
 embarrassment while reading aloud to the family circle. The Quar- 
 terly Review thus speaks of the merits of this edition : " Among the 
 most extraordinary attempts at moral improvement, none, perhaps, 
 is better calculated to excite a sarcastic smile than the publication 
 of a " Family Shakspere," from which all objectionable passages are 
 expunged. This is Jack tearing off the lace from Lord Peter's coat, 
 with a vengeance." 
 
 Bowdler's, 8vo. . . . . ... 1818 
 
 Rowe's, with Life, 8vo. . . . . . . 1819 
 
 Reed's, Hurst, i2mo. . . . . . . 1819 
 
 Reed's, Hurst, 2 vols., 8vo. . . . . 1819 
 
 Allason's, 9 vols., 8vo. . . . . . . 1819 
 
 Bowdler's, Family Edition, *io vols., i8mo. . . 1820 
 
 Bowdler's, 8vo. . . . . . . 1820 
 
 Bell's, 20 vols., i8mo. . . . . . . 1820 
 
 Reed's, 12 vols., 8vo. . . . . . . 1820 
 
 Johnson, Steevens, Reed and Malone's, seventh 
 
 edition, edited by Boswell, 21 vols., 8vo. 1821 
 
 Black and Go's., 3 vols., i2mo., vignettes . . 1821 
 
 Reed's, 12 vols., 8vo. . . . . . . 1821 
 
 Bowdler's, Family Edition, 8 vols., 8vo. . . 1822 
 
 o 
 
50 SHAKSPEREAN STATISTICS. 
 
 Bowdler's, ditto, 10 vols., i2mo. . . . . 1822 
 
 Pickering's, 9 vols., 48010. , plates after Stothard 1822 
 
 Mason's, 8vo. . . . . . . . . 1822 
 
 Chalmer's, 8 vols., 8vo., plates . . . . 1823 
 
 Steeven's, 10 vols., i2mo. .. .. 1823 
 
 Johnson and Steevens, 9 vols., i8mo., Thurstoris 
 
 illustrations . . . . . . 1823 
 
 Steevens', 8vo. . . . . . . 1823 
 
 Whittingham's, i2mo. . . . . 1823 
 
 Sherwin's, 8vo. . . . . . . 1823 
 
 Mason's, 8vo. . . . . . . 1823 
 
 Reed's, 12 vols., 8vo. . . . . . . 1823 
 
 Johnson's, 8vo. . . . . . . 1823 
 
 Steevens', 10 vols., 8vo. . . . . 1824 
 
 Wheeler's, 8vo. . . . . . . 1824 
 
 Harness', 8 vols., 8vo. . . . . . . 1825 
 
 Harvey's, 8vo., woodcuts . . . . 1825 
 
 Singer's, n vols., 8vo. . . . . 1825 
 
 Bowdler's, 10 vols., i2mo. .. .. 1825 
 
 Pickering's, 9 vols., 48mo., plates after Stothard 1825 
 
 Pickering's, foolscap 8vo., plates after Stothard 1825 
 
 Balne's, 8vo., woodcuts .. .. 1825 
 
 Reed's, 8 vo., woodcuts .. .. .. 1825 
 
 Chalmers', 8vo. .. . .. 1826 
 
 Chalmers', 8 vols., 8vo. .. . . 1826 
 
 Singer's, 10 vols., foolscap 8vo., 60 woodcuts . . 1826 
 
 Steevens', 8 vo. .. .. .. 1826 
 
 Steevens', Leipzig, royal 8vo., with Life by 
 
 Skottowe .. .. .. 1826 
 
 Sir W. Scott's, Constable, 8vo., vols. 2, 3 and 4 1826 
 
 The above volumes are in the Public Library at Boston, United 
 States, and they form part of an edition of Shakspere's works, which 
 Sir Walter Scott, in 1822, undertook to edit at the suggestion of 
 
SHAKSPEREAN STATISTICS. 51 
 
 Constable, his publisher. The edition was to have been in twelve or 
 fourteen volumes, only three of which were printed before the failure 
 of the great house of Constable took place. The sheets of these 
 volumes were afterwards sold in London for waste paper. The in- 
 troductory volume upon which the labours of Sir Walter were to be 
 principally confined was never printed. These volumes have no title 
 pages nor general introduction. The second volume contains The 
 Two Gentlemen of Verona, The Comedy of Errors, Love* s Labour 
 Lost, and The Merchant of Venice; the third, A Midsummer 
 Nighfs Dream, The Taming of the Shrew, As you. Like //and 
 Much Ado about Nothing ; the fourth, The Merry Wives of 
 Windsor, Measure for Measure, All's Well that Ends Well, and 
 Twelfth Night. 
 
 Bowdler's, 8 vols , 8vo. . . . . .. 1827 
 
 Wheeler's, 8 vo. .. .. ., 1827 
 
 Tegg's, 8vo., 1827 .. .. .. 1827 
 
 Carpenter's, 8 vols., i2mo., vignettes . . 1827 
 
 Steevens', Philadelphia, 2 vols., 8vo. . . 1828 
 
 Whittingham's, 8 vols., 321110., vignettes . . 1828 
 
 Whittingham's, 12 mo., woodctits . . . . 1828 
 
 Bowdler's, 8 vols., 8vo. . . . . . . 1828 
 
 Singer's, Frankfort, 10 vols., i2mo. .. 1828 
 
 Wheeler's, 8vo., woodcuts . . . . . . 1829 
 
 Reed's, Frankfort, 8vo. . . . . . . 1830 
 
 Whittingham's, i2mo., woodcuts . . . . 1830 
 
 Tieck's, Leipzig, royal 8vo. . . . . 1830 
 
 Harness', 8 vols., 8vo. . . . . . . 1830 
 
 Wheeler's, 8vo., woodcuts . . . . . . 1830 
 
 Pickering's, i2mo. . . . . . . 1831 
 
 Reed's, 8vo. . . . . . . . . 1831 
 
 Bowdler's, 8vo., woodcuts . . . . . . 1831 
 
 Bowdler's, New York, 8vo. . . . . N.D. 
 
 Johnson and Steevens', 8vo. .. .. 1831 
 
 Johnson and Steevens', i2mo. . . . . 1831 
 
 Wheeler's, 8 vo., plates .. .. .. 1832 
 
 Jones', with Rowe's Preface and Life, 8vo. . . 1832 
 
 
52 SHAKSPEREAN STATISTICS. 
 
 Steevens', 8vo. . . . . . . . . 1832 
 
 Valpy's, Cabinet Edition, 15 vols., foolscap 8vo., 
 
 171 illustrations . . . . . . 1832 
 
 The text of this edition is a very faulty one. 
 
 Chalmers', 8vo. . . . . . . . . 1833 
 
 Harness', imperial 4to., plates . . . . 1833 
 
 Wivell's, royal 8vo., plates . . . . N.D. 
 
 Wheeler's, 8vo. .. .. .. .. 1833 
 
 Scott's, 8 vols., 8vo., plates . . . . 1833 
 
 Harness', Select Notes, &c., 8 vols , 8vo. . . 1833 
 Reed's, with Supplement by Tieck, imperial 
 
 8vo. .. .. .. .. 1833 
 
 Singer's, Halle, 10 vols., 1 2 mo. .. 1833 
 
 Wheeler's, 8vo. . . . . . . . . 1834 
 
 Clark's, Magnet edition, 5 vols., i8mo. . . 1834 
 
 Singer's, New York, 2 vols., 8vo., woodcuts . . 1834 
 
 Johnson's, medium 8vo. . . . . . . 1835 
 
 Reed's, Paris, 8vo. . . . . . . 1835 
 
 Conner's, New York, 8vo., woodcuts . . 1835 
 
 Valpy's, Cabinet Edition, 15 vols., foolscap 8vo., 
 
 171 illustrations . . . . . . 1835 
 
 Harness', 8vo., 40 plates .. .. .. 1835 
 
 Tegg's, 8vo. .. .. .. .. 1836 
 
 Tilt's, 1 2 mo., illustrations . . . . . . 1836 
 
 Cunningham's, 1 2mo. ,//#/&$ .. .. 1836 
 
 Chalmers', 8 vols., 8vo. . . . . . . 1837 
 
 Symon's, Leipzig, royal 8vo., 270 woodcuts . . 1837 
 
 Symon's, Berlin, 8vo,, 60 plates .. .. 1837 
 
 Mason's, 8vo. . . . . . . . . 1837 
 
 Reed's, 8vo., plates . . . . . . 1837 
 
 Chalmers', 8vo. .. .. .. .. 1838 
 
 Campbell's, royal 8vo. . . . . . . 1838 
 
 Shortrede's, Edinburgh, 1 2mo., plates .. 1838 
 
SHAKSPEREAN STATISTICS. 53 
 
 Longman's, 8vo. . . . . . . . . 1838 
 
 Tilt's, 8 vols., 3 2 mo., woodcuts . . . . N.D. 
 
 Symons', Berlin, 8 vols., 321110. . . . . 1838 
 
 Harness', 8vo. . . . . . . . . 1838 
 
 Reed's, %\o., plates . . . . . . 1838 
 
 Knight's Pictorial, 8 vols., royal 8vo., with 
 
 illustrations, historical and topographical 1838-43 
 
 The text of this edition is founded upon the first folio, to which 
 Mr. Knight was too exclusively attached. At the date of its pub- 
 lication, it was, however, looked upon as being the best edition 
 published. It was enriched with illustrations, a Life of Shakspere, 
 the whole of the doubtful Plays, and a History of opinion relative to 
 Shakspere. The object of its editor was to produce an edition, 
 " That should address itself t the popular understanding in a spirit 
 of enthusiastic love, and not of captious and presumptuous cavel- 
 ling ; with a sincere zeal for the illustration of the text, rather than 
 a desire to parade the stores of useless learning ; and offering a 
 sober and liberal examination of conflicting opinions among the host 
 of critics, in the hope of unravelling the perplexed, clearing up the 
 obscure, and enforcing the beautiful, instead of prolonging those 
 fierce and ridiculous controversies, which, always offensive, are 
 doubly disagreeable in connexion with the works of the most tolerant 
 and expansive mind that ever lifted us out of the region of petty 
 hostilities and prejudices." Knight's Original Prospectus. 
 
 Bogue's, 8 vols., 32mo., woodcuts . . 1839 
 
 Maunder's, 8vo. . . . . . . 1859 
 
 Fisher's, 8vo., plates .. .. .. 1839 
 
 Barry Cornwall's, illustrated by Kenny Meadows, 
 
 3 vols., imperial 8vo. . . . . 1839-43 
 
 Valpy's, 15 vols., foolscap 8vo., plates .. 1840 
 
 Maunder's, 8vo. . . . . . . 1 840 
 
 Chalmer's, Leipzig, royal 8vo. . . 1840 
 
 Bonn's, 8vo. . . . . . . 1840 
 
 Pierre's, Frankfort, with historical and gram- 
 matical Notes, 8 vols., 12 mo. .. 1840 
 Whittingham's, i2mo. . . . . 1841 
 
54 SHAKSPEREAN STATISTICS. 
 
 Lewis*, 14 vols., 8vo. . . . . 1841 
 
 Glasgow, 8vo. . . . . . . 1841 
 
 Glasgow, Bonestein, i2mo. . . . . 1841 
 
 Collier's, John Payne, 8 vols., 8vo. . . 1841 
 
 This edition contains a History of the Stage to the time of 
 Shakspere, a Life of the Poet, Introductions to each of the plays, 
 notes and new readings. The substance of the notes is derived from 
 preceding editors, whose labours relative to the text have been 
 wholly disregarded by Mr. Collier. The text is partly founded upon 
 the first folio, that volume, for one-half the plays, furnishing the 
 most authentic text, while the other half is derived from a careful 
 examination and collation of the early quartos. 
 
 Harness', royal 8 vo., 40 plates .. .. 1842 
 
 Johnson's, 8vo. . . . . . . 1842 
 
 Maunder's, 8vo. . . . . . . 1842 
 
 Harness', 8vo. . . . . . . 1842 
 
 Knight's Library Edition, 12 vols., 8vo., woodcuts 1842 
 
 The text of this edition has the benefit of Mr. Knight's collation 
 of the matchless collection of quarto copies in the Bodleian Library 
 and British Museum. 
 
 Paris, Baudry, 10 vols., 8vo. . . . . 1842 
 
 Reed's, Leipzig, 2 vols., 8vo., steel and wood en- 
 gravings . . . . . . 1842 
 
 Schumann, Leipzig, 8 vols., i6mo. .. 1842 
 
 Bowdler's, 8vo. . . . . . . 1843 
 
 Chittley's, 8vo. .. .. .. 1843 
 
 Singer's, Halle, 10 vols., 12 mo. . . 1843 
 
 Knight's, Cabinet Edition, n vols., i8mo., with 
 
 Portraits and other Illustrations . . 1843 
 
 Collier's, Leipzig, 7 vols., i8mo. . . 1843 
 
 Knight's, 8vo., woodcuts . . . . 1844 
 
 Peabody's, Boston, U.S., 7 vols., 8vo. . . 1844 
 
 Verplanch's, New York, 3 vols., 8vo., woodcuts 1844 
 Knight's, Cabinet Edition, 1 2 vols., 1 8mo., with 
 Portraits and other Illustrations The last 
 
SHAKSPEREAN STATISTICS. 55 
 
 volume contains a History of opinion 
 
 relative to Shakspere . . . . 1844 
 
 Chalmer's, i2mo., plates .. .. 1845 
 
 Knight's, Pictorial Edition, second edition , 8 vols., 
 
 royal 8vo. . . . . . . 1845 
 
 Stebbing's, royal %vo. y plates .. .. 1845 
 
 Pitman's, 8vo. . . . . . . 1845 
 
 Chalmer's, 8vo. . . . . . . 1846 
 
 Barry Cornwall's, illustrated by Kenny Meadows, 
 second edition, with 36 extra etchings, 
 
 3 vols., royal 8vo. . . . . 1846 
 
 Orr's, i2mo. . . . . . . . . 1846 
 
 Chalmer's, 8 vols., 8vo. . . . . 1847 
 
 Bowdler's, royal 8vo. .. .. 1847 
 
 Johnson's, Steevens and Malone's, with Glos- 
 sarial Notes, a Sketch of the Author and 
 Introductory Observations to each Play, 
 
 8vo. . . . . . . 1847 
 
 Nelson's, Edinburgh, 8vo. . . . . 1847 
 
 Verplanch's, New York, 3 vols., royal 8vo., 
 
 woodcuts . . . . . . 1847 
 
 Knight's, Standard Edition, 7 vols., 8vo. . . 1847 
 
 Steevens', 8vo. . . . . . . 1847 
 
 Knight's, Cabinet Edition, 12 vols., i8mo. . . 1847 
 
 Routledge's, with Life, by Rowe, 8vo. . . 1848 
 
 Campbell's, royal 8vo. . . . . 1848 
 
 Chalmers', Diamond Type, i2mo., with 40 
 
 outline engravings . . . . 1 848 
 
 Steevens', Burns, i2mo. . . . . 1848 
 
 Chalmer's, 8vo. . . . . . . 1849 
 
 Barry Cornwall's, illustrated by Kenny 
 Meadows, third edition, 3 vols., imperial 
 
 8vo. . . . . . . . . 1849 
 
 Steevens', Philadelphia, 2 vols., 8vo. . . 1849 
 
56 SHAKSPEREAN STATISTICS. 
 
 Bowdler's, 8vo. .. .. .. 
 
 Campbell's, royal 8vo. .. .. 
 
 Steevens', 8vo. . . . . . . 
 
 HalliwelFs, 4 vols., imperial 8vo., illustrated by 
 
 i oo plates and photographs .. 1850-51 
 
 This edition contains historical and analytical introductions to 
 each play, notes, critical and explanatory, a Life of the Poet, and 
 the text is based upon a careful revision of the original editions. 
 
 Knight's, National Edition, 6 vols., 8vo., woodcuts 1851 
 
 Nelson's, Edinburgh, 8vo. . . . . 1851 
 
 Knight's, Cabinet Edition, 12 vols., i8mo. . . 1851 
 
 Halliwell's, New York, 8vo. . . . . 1851 
 
 Lansdowne's, 8vo. . . . . . . 1851 
 
 Steevens', 8vo. . . . . . . 1851 
 
 Hudson's, Boston, U.S., n vols., 8vo., vignettes 1851 
 
 Phelps', 2 vols., royal 8vo., plates . . 1851 
 
 Hazlitt's, 4 vols., i2mo. . . . . 1851 
 
 Steevens', Philadelphia, i2mo. . . 1851 
 
 Maunders', 8vo. . . . . . . 1851 
 
 Johnson's, 8vo. .. .. .. 1851 
 
 Nelson's, Edinburgh, 8vo. . . . . 1851 
 
 Lembird's, with Life and Notes by Rowe, 8vo., 
 
 portrait and vignette . . . . . N.D. 
 
 Smith's, Philadelphia, 8vo., plates . . 1852 
 
 Cunningham's, Daly, 12 mo., plates .. 1852 
 
 Cunningham's, Daly, 8 vols., 32mo. . . 1852 
 
 Bowdler's, 6 vols., i2mo. . . . . 1852 
 
 Campbell's, royal 8vo. . . . . 1852 
 
 Knight's, royal 8vo. . . . . . . 1852 
 
 Barry Cornwall's, with a part of the illustrations 
 
 by Kenny Meadow s y 2 vols., imperial 8vo. 1852 
 
 Lansdowne's, 8vo., printed in red and black 1852 
 
 This, like the Bowdler edition, is an expurgated one, the sup- 
 posed naughty words and sentences being left out by its over 
 delicate editor. 
 
SHAKSPEREAN STATISTICS. 57 
 
 Phelps', illustrated with thirty-eight engravings, 
 
 by T. H. Nicholson, 2 vols., 8vo. . . 1852 
 
 Chalmers', 8vo. .. .. .. 1853 
 
 Knight's, National Edition, 6 vols., 8vo., second 
 
 edition, woodcuts . . . . 1853 
 
 Barry Cornwall's, 8vo. . . .. 1853 
 
 Bowdler's, 6 vols., foolscap 8vo. . . 1853 
 
 Collier's, 8 vols., 8vo, .. .. .. 1853 
 
 A supplemental volume was published in the same year to the 
 this edition, containing the Notes and Emendations from early 
 manuscript corrections in a copy of the folio of 1632, in the possession 
 of the editor. These corrections formed the basis of the celebrated 
 Collier controversy, which for some years raged with no small 
 amount of temper and spleen between the disputants. The number 
 of emendations was nearly 20,000, many of them had been made 
 before, and very few were accepted as genuine. 
 
 Collier's, New York, 8 vols., 8vo. . . . . 1853 
 
 Collier's, New York, 8vo. . . . . . . 1853 
 
 Collier's, Whittaker, 8vo. .. .. .. 1853 
 
 Colliers, Leipzig, 4to. . . . . .. 1853 
 
 Simpkins, Halifax, 8vo. .. .. 1853 
 
 Bohn's, 8vo. .. .. .. .. 1853 
 
 Lansdowne, 8vo., printed in black and red . . 1853 
 
 Hazlitt's, 5 vols., i2mo. .. .. 1853 
 
 The fifth volume contains the doubtful plays. 
 
 Jewitt's, New York, 8vo. .. .. .. 1853 
 
 Halliwell's, 4 vols., imperial 8vo., plates .. 1853 
 
 Halliwell's, 15 vols., folio .. .. 1853-61 
 
 The text of this edition is formed from a new collation of the 
 early editions, to which is added the original novels and tales on 
 which the plays are founded : copious Archaeological Annotations 
 on each Play, an Essay on the Formation of the Text, and a Life of 
 the Poet. The illustrations are by F. W. Fairholt. Only 150 copies 
 were printed of this edition, some few thereof being proof impressions 
 of the plates on India paper. The plates and blocks were all 
 destroyed after the above number was printed. 
 
 H 
 
518 SHAKSPEREAN STATISTICS. 
 
 Chalmers, 8vo. .. .. .. .. 1854 
 
 Dale's, 8 vols., 8vo. .. ,, .. 1854 
 
 Delias, Elberfield, 7 vols,, 8vo. . . . . 1854 
 
 Philadelphia, 8 vo. .. .. .. 1854 
 
 Rowe's, Routledge, 8vo. . . . . . . 1854 
 
 Knight's, Stratford Edition, iovols., i2mo. . . 1854-56 
 
 New York, 4to., portraits of actors . . . . 1855 
 
 Steevens', Tegg, 8vo. . . . . . . 1855 
 
 Singer's, iovols., foolscap 8vo., woodcuts . . 1855-6 
 
 In this edition the text has been most carefully revised. A Life 
 of the Poet and Critical Essays on each Play written by W. W. 
 Lloyd, have been added. 
 
 Chalmers, 8 vols., 8vo. . . . . . . 1856 
 
 Nelson, London, 8vo. . . . . . . 1856 
 
 Rowe's, Routledge, 8 vo. .. .. .. 1856 
 
 Knight's, Cabinet Edition, 12 vols., 1 8mo. .. 1856 
 
 Griffin's, London, 8vo. . . . . .. 1856 
 
 Halliwell's, 8vo. .. .. .. 1856 
 
 Valpy's, 15 vols., foolscap 8vo., plates . . 1857 
 
 Knight's, Companion Edition, 3 vols., crown 8vo. 1857 
 
 Knight's, Student Edition, 6 vols., 8vo. . . 1857 
 
 Phelps', 2 vols., 8vo., plates . . . . 1857 
 
 Ward and Lock, 8vo. . . . . . . 1857 
 
 Knight's, 8vo., woodcuts . . . . .. 1857 
 
 Knight's, Stratford Edition, 10 vols., foolscap 
 
 8vo. . . . . . . . . 1857 
 
 Dyce's, 6 vols., 8vo. . . . . .. 1857 
 
 White's, Boston, U. S., 12 vols., crown 8vo. . . 1857-66 
 
 The plays in this edition are edited from the folio of 1623, with 
 various readings from other editions, including 117 emendations from 
 J. P. Collier's corrected folio of 1632. It also contains introductory 
 remarks to each play, an historical sketch of the text and a Life of 
 the Poet. 
 
 Campbell's, royal 8vo. . . . . . . 1858 
 
SHAKSPEREAN STATISTICS. 59 
 
 Knight's, National Edition, 6 vols., 8vo., wood- 
 cuts . . . . . . . . 1858 
 
 Barry Cornwall's, illustrated by Kenny 
 
 Meadows, 3 vols., imperial 8vo. . . 1858 
 
 Hallivvell's, imperial 8vo. . . . . 1858 
 
 Collier's, 6 vols., 8vo. . . . . . . 1858 
 
 Phelps', 2 vols., royal 8vo., plates . . . . 1858 
 
 Lansdowne's, printed in red and black, 8vo. 1858 
 
 Lansdowne's, with Stothard's plates . . 1858 
 
 Reed's, Tegg and Griffin, 8vo. . . . . 1858 
 
 Halifax, Milner and Sowerby, 8vo. . . 1858 
 Staunton's, 3 vols., imperial 8vo., illustrated 
 
 by Sir John Gilbert, A.R.A. . . 1858-60 
 
 Bowdler's, royal 8vo. . . . . . . 1859 
 
 Johnson's, 8vo. . . . . . . 1850 
 
 Knight's, Pictorial Edition, 8 vols., royal 8vo., 
 
 woodcuts . . . . . . . . 1859 
 
 Knight's, royal 8vo., woodcuts . . . . 1859 
 
 Hazlitt's, 5 vols., i2mo. . . . . . . 1859 
 
 Steevens', Tegg, i2mo. . . . . . . 1859 
 
 Johnson's, Bohn, 8vo. .. .. .. 1859 
 
 Phelps', in 38 numbers, 8vo. . . . . N. D. 
 
 Bowdler's, royal 8vo , woodcuts . . . . 1860 
 
 Bowdler's, 6 vols , i2mo. . . . . . . 1860 
 
 Knight's, Stratford Edition, 6 vols., i2mo. . . 1860 
 
 Griffin and Co., 8vo. . . . . . . 1860 
 
 Campbell's, Routledge, royal 8vo. . . 1860 
 Clarke's, Mrs. Mary Cowden, Appleton, New 
 York, imperial 8vo., with illustrations of the 
 principal female characters by Kenny Mea- 
 dows, Hayter, Bostock, Fisher, Stephanoff, 
 C. Leslie, R.A., Corbould, Herbert, R.A., 
 Chalons, R. A., Fields and Parris; also/^- 
 
 trait and vignette . . . . . . 1860 
 
60 SHAKSPEREAN STATISTICS. 
 
 Delius, Elberfield, 7 vols., 8vo. . . . . 1860 
 
 Collier's, Boston, U.S., 8 vols., 8vo. . . 1860 
 
 Hazlitt's, 5 vols., i2mo. . . . . . . 1860 
 
 Griffin and Co., Family Edition, 8vo. . . 1860 
 
 Bell's, Manchester, 8vo. . . .. . . 1861 
 
 Griffin and Co., 8vo. . . . . . . 1861 
 
 Johnson's, with observations on each play, 8vo. 1861 
 
 Steevens', Tegg, 1 2 mo. .. .. .. 1861 
 
 Griffin and Co., Family Edition, 8vo., plates . . 1861 
 
 Knight's, Stratford Edition, 6 vols., i2mo. . . 1861 
 Carruther's and W. Chambers', 10 vols., crown 
 
 8vo., illustrated by Keeley Halswelle . . 1861-3 
 
 This is another of the moral and delicate editions of Shakspere, 
 in which the whole of the so-called objectionable words and passages 
 are omitted. 
 
 Pitman's, 8vo. . . . . . . . . 1862 
 
 Steevens and Malone's, 8vo. . . . . 1862 
 
 Campbell's, Routledge, imperial 8vo., illustrated 1862 
 
 Knight's, Stratford Edition, 6 vols., 12 mo. . . 1862 
 
 Macmillan's, i2mo. . . . . . . 1862 
 
 Steevens', Rivington's, 8vo. . . . . 1862 
 
 Phelps', with coloured illustrations, by Hablot 
 
 K. Browne, 2 vols., royal 8vo. . . . . N.D. 
 
 Staunton's, Library Edition, 4 vols., 8vo. . . 1863 
 Clarke's, Mr. and Mrs. Cowden, Library Edition, 
 
 4 vols,, 8vo. . . . . . . . . 1863 
 
 Clarke's, Mr. and Mrs., royal 8vo. . . . . 1863 
 
 Nelson's, with Life and Glossary, 8vo., illustrated 1 863 
 
 Bowdler's, 8vo. . . . . . . . . 1863 
 
 Hudson's, Boston, U.S., n vols., i2mo. . . 1863 
 
 London, 8vo. . . . . . . . . 1863 
 
 Staunton's, illustrated by Sir John Gilbert, A.R, A., 
 
 3 vols., imperial 8vo. . . . . 1863-6 
 
SHAKSPEREAN STATISTICS. 6 1 
 
 Clarke and Wright's, Cambridge Edition, 9 vols., 
 
 8vo. .. .. .. .. .. 1863-6 
 
 The editors, of this edition have made it a useful one by the 
 feature they have introduced of giving the various readings and 
 emendations that have been suggested, at the foot of every page. 
 This is a source of advantage to the general reader, who can thus 
 obtain in a ready manner a complete acquaintance with the many 
 critics whose " study evermore is overshot." Of the value of the text 
 of this edition, the Quarterly Review, thus remarks : " Considering 
 the circumstances of its publication and the learning and critical 
 accomplishments of the editors, it is a kind of literary problem indeed, 
 how it comes to pass that the text of this edition is so extremely 
 defective." 
 
 Dyce's, 9 vols., royal 8vo. . . . . . . 1863-7 
 
 The text of this edition is probably the best extant. Its editor 
 possessed a complete knowledge of Shaksperean literature, and was 
 thoroughly familiar with all the essentials to illustrate and correct 
 the text. It is a great improvement upon his former edition, and 
 completely demonstrates the soundness of his judgment and the 
 fulness of his critical sagacity. 
 
 Clarke's, Mr. and Mrs. Cowden, illustrated by 
 
 Selous y 3 vols., imperial 8vo. . . . . 1864-8 
 
 ManselPs, i2mo. . . . . . . . . 1864 
 
 Knight's, Stratford Edition, 6 vols., i2mo., 
 
 illustrated . . . . . . . . 1864 
 
 Ireland's, 8vo. .. .. .. .. 1864 
 
 Dick's, crown 8vo., 'woodcuts . . . . 1864 
 
 Upwards of 300,000 copies of this edition have been sold. 
 
 Chalmers', Cincinnati, 8vo., plates .. .. 1864 
 
 Barry Cornwall's, 3 vols., 8vo., plates . . 1864 
 
 Nimmo's, small 8vo. . . . . . . 1864 
 
 Knight's Pictorial Edition, corrected and revised, 
 
 8 vols., 8vo., illustrated . . . . 1864 
 The Reference Shakspere, edited by J. R. Marsh, 
 
 small 4to. . . . . . . . . 1864 
 
 This is the first Reference Shakspere ever published, and con- 
 
62 SHAKSPEREAN STATISTICS. 
 
 tains 372 subjects, illustrated by 6,504 separate passages, which are 
 connected by a total of 11,600 references. 
 
 Nimmo's, 2 vols., 8vo., woodcuts . . . . 1864 
 
 Nimmo's, 2 vols., 8vo., red line edition . . 1864 
 
 Keightley's, 6 vols., i6mo., Elvezir edition . . 1864 
 
 Keightley's, super-royal 8vo. . . . . 1864 
 
 Lea's, 8 vols., small 8vo. . . . . . . 1864 
 
 Delius', Elberfield, 7 vols., 8vo. . . . . 1864 
 
 Dick's, crown 8vo., woodcuts . . . . 1864 
 
 Bell's, H. G-, 6 vols., foolscap 8vo. . . . . 1864 
 
 Bell's, H. G., imperial 8vo., plates . . . . 1864 
 
 Gall and English, Edinburgh, 8vo., plates . . 1864 
 
 Gall and English, 2 vols., i2mo., plates . . 1864 
 
 Steevens', Tegg, 8vo., plates . . .. 1864 
 
 Clarke, Mr. and Mrs., 4 vols., 8vo. . . . . 1864 
 
 Clarke, Mr. and Mrs., 8vo. . . . . . . 1864 
 
 Hazlitt's, 5 vols., i2mo. .. .. .. 1864 
 
 Dick's, Edinburgh, 2 vols., 8vo. . . . . 1864 
 
 Dick's, Edinburgh, 8vo. . . . . . . 1864 
 
 The Avon Shakspere, 8vo. . . . . 1864 
 
 Bell's, Warne, 8vo. . . . . . . 1864 
 
 Booth's Reprint of the First Folio, in 3 parts, 
 
 foolscap 4to., part i, Comedies .. 1862 
 
 2, Histories . . . . 1863 
 
 3, Tragedies .. 1864 
 
 Booth's Reprint, folio . . . . . . 1864 
 
 Staunton's Facsimilie of the first folio by Photo- 
 lithography, folio . . . . . . 1865 
 
 The Globe Shakspere, edited by J. Clarke and 
 
 Wright, super-royal i8mo. . . . . 1864 
 
 The text of this edition is the same as the text of the Cambridge 
 edition. The work is well printed and it is really a marvel of cheap- 
 ness. Twenty thousand copies were printed of this edition, and the 
 whole number was subscribed for by the trade within two days 
 after publication. 
 
SHAKSPEREAN STATISTICS. 63 
 
 The Globe Shakspere, second edition, super-royal 
 
 8vo. . . . . . . . . 1865 
 
 Bowdler's, 8vo. . . . . . . 1865 
 
 Bowdler's, 6 vols., foolscap 8vo. . . . . 1865 
 
 The Guinea Library Shakspere, containing the 
 
 Plays and Poems, edited by Mr. and Mrs. 
 
 C. Clarke, 4 vols., 8vo. . . . . 1865 
 The Globe Shakspere, third edition (30,000), 
 
 super-royal 1 8mo. .. .. .. 1865 
 
 Hazlitt's, 5 vols., i2mo. . . . . . . 1865-7 
 
 Keightley's, 6 vols., i8mo. .. . . 1865 
 
 Bell's, 6 vols., 8vo. . . . . . . 1865 
 
 Collier's, New York, 8 vols., 8vo. . . . . 1865 
 
 The Globe Shakspere, fourth edition (20,000), 
 
 super-royal i8mo. . . . . . . 1866 
 
 Campbell's, royal 8vo., woodcuts .. .. 1866 
 
 Milner and Sowerby's, 8vo. . . ... 1866 
 
 Duyckinck's, Philadelphia, 8 vo., plates .. 1866 
 Knight's, National Edition, 8 vols., 8vo. illustrated 1 866 
 The Handy- Volume Shakspere, 13 vols., 3 2 mo. 1866-7 
 Dick's, Shilling Shakspere, crown 8vo., in a 
 
 wrapper, illustrated . . . . . . 1866 
 
 Of this edition more than 700,000 copies have been sold. 
 
 The Blackfriars Shakspere, crown 8vo. . . 1866 
 
 Knight's, Stratford Shakspere, 6 vols., small 8vo. 1 866 
 
 Bell's, royal 8vo. .. .. .. 1866 
 
 The Globe Shakspere, fifth edition, in five parts, 
 
 super-royal i8mo. . . . . . . 1866 
 
 Nimmo's, royal 8vo. . . . . . . 1866 
 
 Keightley's, 6 vols., 1 8mo. .. .. 1866 
 
 Keightley's, royal 8vo. . . . . . . 1867 
 
 Knight's Blackfriars, crown 8vo. . . . . 1867 
 
 Valpy's, 15 vols., 8vo., plates .. .. 1867 
 
64 SHAKSPEREAN STATISTICS. 
 
 Duyckinck's, Philadelphia, 8vo., plates . . 1867 
 Handy Volume Edition, Boston, U.S., 13 vols., 
 
 32mo. .. .. .. .. 1867 
 
 Collier's, 6 vols., 8vo. . . . . . . 1868 
 
 Collier's, super-royal 8vo. . . . . . . 1868 
 
 Keightley's Pocket Shakspere, 13 vols., royal 
 
 32mo. .. .. .. .. 1868 
 
 Knight's Shilling Shakspere, foolscap 8vo. . . 1868 
 
 This edition, consisting of 100,000 copies, is said to have been 
 wholly taken up by the trade within a week of the day of its publi- 
 cation. 
 
 Griffin and Co., 8vo. . . . . . . 1868 
 
 Keightley's, 7 vols., i6mo. . . . . 1868 
 
 The Chandos Shakspere, foolscap 8vo. . . 1868 
 Knight's, Routledge, foolscap 8vo., illustrated 
 
 by Sir John Gilbert, A.R.A. .. 1868 
 
 Singer's, iovols., i2mo. .. .. .. 1868 
 
 Knight's, royal 8vo., illustrated . . . . 1869 
 
 Staunton's, 8 vols., 8vo., with portrait . . 1869 
 
 Dyce's, Leipzig, 7 vols., foolscap 8vo. . . 1869 
 
 Campbell's, royal 8vo., illustrated . . . . 1869 
 
 Knight's Shilling Shakspere, foolscap 8vo. . . 1869 
 
 Knight's Pictorial Edition, 8 vols., 8vo. .. 1871 
 
 The Globe Shakspere, royal i8mo. . . . . 1871 
 
 Delius, Elberfield, 7 vols., 8vo. .. .. 1871 
 
 Gall and English, 8vo., plates .. .. 1871 
 
 Hudson's, Boston, U.S., 2 vols., 8vo. . . 1871 
 Furness', New Variorum edition, Philadelphia, 
 
 only two volumes published, containing 
 
 Macbeth and Romeo and Juliet .. 1871-3 
 
 Knight's, royal 8vo., illustrated .. .. 1872 
 Knight's, Imperial Shakspere, 4 vols., imperial 
 
 4to. .. .. .. .. .. 1872-4 
 
 The text of this edition was thoroughly revised by the late 
 
SHAKSPEREAN STATISTICS. 65 
 
 Charles Knight, and his daughter has undertaken to correct all the 
 sheets for the press. It is illustrated with steel engravings from 
 pictures by celebrated modern artists, embracing examples of Sir E. 
 Landseer, Leslie, Mulready, Maclise, Marks, Frith, Orchardson, 
 Frost, Ward, Pettie, Stone, T. Graham, Boughton, Alma-Tadema, 
 Sir J. Gilbert, Pott, Bromley and others. 
 
 Staunton's, 6 vols., 8vo. .. . . . . 1873 
 
 Bowdler's, royal 8vo., 12 steel engravings . . 1873 
 Cowden Clarke's, Library edition, with Life, but 
 
 without Notes, 4 vols., 8vo. . . 1873 
 
 Cowden Clarke's, 3 vols., large 4to., illustrated 
 
 by Seloiis . . . . . . . . 1874 
 
 The Boydell Shakspere, edited by Mr. and Mrs. 
 Cowden Clarke, with Life and Glossary, 
 2 vols., royal 8vo., illustrated with 67 pictures 
 selected from the Boydell Gallery, in per- 
 manent photography .. .. 1874 
 
 Staunton's reprint of the first folio, small folio 1874 
 
 Staunton's reprint of the first folio, large folio 1874 
 
 The total number of corrected editions of the works 
 published in English from and including the first folio, 
 1623, to the middle of the year 1874, is 488. 
 
EDITIONS OF SELECTIONS OF SHAKSPERE'S 
 
 PLAYS. 
 
 Twenty of the Plays of Shakspere, being the 
 whole number printed in quarto, during his 
 life time, or before the Restoration ; 
 collated where there were different copies, 
 and published from the originals, by G. 
 Steevens, 4 vols., 8vo. . . . . 1766 
 
 King Lear, Hamlet, Macbeth, Othello and 
 Julius Caesar, collated with the old and 
 modern editions, by C. Jennens, 8vo. . . 1770-4 
 Lear and Cymbeline, with remarks by the editor, 
 
 Ambrose Eccles, 2 vols., 8vo. . . Dublin, 1793 
 The same, second edition .. .. London, 1801 
 
 The same, third edition . . . . Dublin, 1805 
 
 Twenty plays, selected by Bo wdler, 4 vols., 1 2 mo. 1819 
 Mitchell's selection of Shakspere's Popular 
 
 Dramatic Works, 3 vols., i6mo. . . 1809 
 
 Hamlet and As You Like It, by T. Caldecott, 
 
 royal 8vo. . . . . . . . . 1819 
 
 The same, second edition .. .. .. 1832 
 
 The School of Shakspere, or select plays and 
 
 scenes from Shakspere, by R. Pitman, 8vo. 1822 
 The same, second edition . . . . . . 1834 
 
 The same, third edition .. .. .. 1845 
 
SHAKSPEREAN STATISTICS. 67 
 
 Selections from Shakspere, by C. Oakley, post 
 
 8vo. . . . . . . . . 1828 
 
 Popular Dramatic Works of Shakspere, 4 vols., 
 
 8vo. . . . . . . . . N.D. 
 
 Select Plays from Shakspere, edited by E. Slater, 
 
 i2mo. . . . . . . . . 1834 
 
 Shakspere's Plays, arranged by Dr. J. Folsing, 
 2 vols., i2mo., containing Julius Caesar, 
 Richard III., and The Merchant of Venice 1840 
 
 A Selection of Shakspere's Plays, by H. S. 
 
 Pierre, 8 vols., 1 2mo. .. .. .. 1840 
 
 Select Plays of Shakspere, viz., Romeo and 
 Juliet, A Midsummer Night's Dream, Julius 
 Caesar and Macbeth, 8vo. . . . . 1840 
 
 Shakspere's Selected Plays, adapted to the use 
 
 of Youth, 2 vols., 1 2 mo. .. .. 1846 
 
 Select Plays of Shakspere, with Notes by 
 
 Howell, i2mo. . . . . . . 1848 
 
 Selections from Shakspere's Plays, by C. Oakley, 
 
 post 8vo. . . . . . . . . 1854 
 
 Selections from the Plays of Shakspere, as 
 arranged for representation at the Princess 
 Theatre, by Charles Kean, 2 vols., foolscap 
 8vo. . . . . . . . . 1860 
 
 Shakspere for Schools, with an Appendix of 
 References, adapted to Penny Readings, by 
 the Rev. C. Lenny, D.D., late of St. John's 
 College, Cambridge, small 8vo. . . 1864 
 
 The same, second edition . . . . . . 1 865 
 
 Othello and the Merry Wives of Windsor, with 
 
 coloured illustrations, small 4to. .. .. 1864 
 
 Extracts from Shakspere, for school use, with 
 a description of the Plot of each Play, by 
 L. C. Gent, foolscap 8vo. . . . . 1865 
 
68 SHAKSPEREAN STATISTICS. 
 
 The Prince's Shakspere, a selection of the Plays 
 of Shakspere, carefully expurgated and 
 annotated for the use of Families and 
 Schools, by the Rev. D. Mathias, M.A., 
 crown 8vo., vol. i .. .. .. 1867 
 
 Shakspere for Schools and Families, being a 
 
 Selection and Abridgment of the principal 
 
 Plays, for School, College and Family 
 
 Reading, edited by Thomas Shorter, 8vo. 1868 
 
 Shakspere's Plays, abridged and revised for the 
 
 use of Girls, by Rosa Baugham, 2 vols., 8vo. 1863-69 
 The English Reader, by Dagleish, in three parts, 
 being a Selection of Shakspere's Plays, 
 crown 8 vo. .. .. .. 1871 
 
 The number of editions of selections is thirty. 
 The number of plays in each selection varying from 
 two to twenty. 
 
 Of the separate editions of the plays of Shakspere 
 there has been a great number published, and many of 
 these editions are at variance with each other. A large 
 number of them have been adapted for representation by 
 various so-called improvers, in which much of the lan- 
 guage of Shakspere is omitted and much of their own 
 inserted. This mode of procedure was more prevalent in 
 the last century than in our own times, for now, the 
 editions run more closely to the original text ; and this 
 result is mainly owing to the multitudinous editions of 
 the complete works and the low price thereof, whereby 
 the general public have become much better acquainted 
 with the true text than they were wont to be. 
 
 COMEDIES : The Tempest, forty editions ; The Two 
 Gentlemen of Verona, eleven ; The Merry Wives of Wind- 
 sor, thirty-three ; Twelfth Night, nineteen ; Measure for 
 Measure, sixteen / Much Ado about Nothing, twenty-five ; 
 
SHAKSPEREAN STATISTICS 69 
 
 A Midsummer Night's Dream, thirty-nine ; Love's 
 Labour's Lost, eleven ; The Merchant of Venice, forty- 
 seven ; As You Like It, twenty-three ; All's Well that 
 Ends Well, ten ; The Taming of the Shrew, thirty-one ; 
 The Winter's Tale, twenty-nine ; The Comedy of Errors, 
 sixteen. 
 
 HISTORIES : King John, thirty-six ; Richard II., 
 twenty-nine ; Henry IV., part i, twenty-nine ; Henry IV., 
 part 2, twenty-six ; Henry V., twenty-five ; Henry VL, 
 part i^five ; part 2, five ; part 3, ten ; Richard III., forty- 
 four ; Henry VIII., tiventy-four. 
 
 TRAGEDIES : Macbeth, forty-seven ; Troilus and 
 Cressida, thirteen ; Timon of Athens, thirteen ; Coriola- 
 nus, twenty-two ; Julius Caesar, forty ; Antony and Cleo- 
 patra, seventeen \ Cymbeline, twenty-seven ; Titus Andron- 
 icus, eight ; Pericles, thirteen ; King Lear, fifty-one ; 
 Romeo and Juliet, fifty-three ; Hamlet, seventy-six ; 
 Othello, fifty-one. 
 
 Of the doubtful plays ascribed to Shakspere four fern 
 editions have been published in connection with his 
 collected works. Six of these doubtful plays appeared 
 with Shakspere's works in the third folio for the first 
 time. The following separate editions have been pub- 
 lished : Locrine, two ; The London Prodigal, one ; Lord 
 Cromwell, three ; The Puritan, one ; The Merry Devil of 
 Edmonton, nine; Sir John Oldcastle, three; and A 
 Yorkshire Tragedy, three. In conjunction with these 
 plays there are also several others which have been 
 ascribed to Shakspere, though it is said they do not 
 contain any trace of the great master's hand. In some 
 of them he is said to have simply assisted, by revising 
 the labours of the author, and here and there giving 
 form to the language, and adding to its strength. The 
 Birth of Merlin is said to furnish an example of this 
 
70 SHAKSPEREAN STATISTICS. 
 
 manner of one author aiding another ; but the play 
 is so poor, so wanting 1 in intellectual force and poetic 
 power, that it is almost impossible for Shakspere to 
 have had any share in the production of this thing of 
 show and spectacle. The ascribing of the authorship in 
 part or wholly to Shakspere of these plays has been 
 done chiefly by the German critics, who, in most of their 
 instances, have evidently forgot the wit and humour, 
 the great knowledge of humanity, the high poetic faculty 
 and his still more wonderful power of characterisation. 
 The titles of the other plays are as follows, and the 
 number of editions thereof published separately is 
 added thereto : Arden of Faversham, seven / The Birth 
 of Merlin, two ; The Double Falsehood, two ; Edward III., 
 four ; Fair Emma, three; Mucedorus, ten; The Two 
 Noble Kinsmen, two ; The Arraignment of Paris, two ; 
 George- a- Green, three ; Vortigern, two. This latter tra- 
 gedy was written by that notorious Shaksperean 
 forger, William Henry Ireland, and on its production at 
 Theatre Royal, Drury Lane, on April 2nd, 1796, it was a 
 failure, the line 
 
 And when this solemn mockery is o'er, 
 
 giving the coup-de-grace to this weak imitation of the 
 Shaksperean drama. 
 
 By the late school of Shaksperean editors and critics, 
 embracing Knight, Campbell, Hazlitt, Singer, Dyce 
 and Walker, most of these plays were rejected as un- 
 worthy of the great master's name, and condemned as 
 spurious productions, in which he was in no way con- 
 nected. The reasons assigned are of a very strong 
 character, for it is most undeniably shown that there is 
 a complete absence of any external evidence of their 
 being written by Shakspere, and this position is still 
 further strengthened by the fact, that they are wanting 
 
SHAKSPEREAN STATISTICS. Jl 
 
 in the richness of imagination, the fulness of thought, 
 the play of wit and fancy, and, above all, the truthfulness 
 and intimate knowledge of man which is always to be 
 found in the works of Shakspere. Messrs. Walker and 
 Dyce were, however, of opinion that portions of The 
 Two Noble Kinsmen belonged to Shakspere, for the 
 first act they said bears indisputable marks of his hand, 
 as does also a portion of the third and fifth acts. The 
 labours of the New Shakspere Society seem to lead to 
 similar conclusions, for the spirit of criticism which has 
 arisen therein and is being developed in the various 
 papers read before that body, asserts, that the hand of 
 Shakspere is not only traceable in Fletcher's play of the 
 Two Noble Kinsmen, but in several of the others. 
 Whatever may be the result brought about in the future 
 world of Shaksperean criticism, at present no evidence 
 of a sufficiently conclusive character has yet been 
 adduced to establish the truth of this position. 
 
 Of editions of the Poems, there have been published 
 separately, Venus and Adonis, seventeen ; of the Rape of 
 Lucrece, ten ; of the Passionate Pilgrim, five ; of the 
 Sonnets, eighteen ; and of the Songs, seven. Of collected 
 editions of the poems, published separately from the 
 complete works of Shakspere, there have been pub- 
 lished no less than forty-two. 
 
 The number of works published in our own lan- 
 guage, in which the writers seek to elucidate and illus- 
 trate the works of Shakspere is truly marvellous. Every 
 year adds materially to their number, for controversies 
 are constantly cropping up between the various critics as 
 to the incidents of the poet's life, and as to the meanings 
 and readings of his text, whereby much information and 
 knowledge is imparted. Not less than seven hundred 
 works have been published, many of which have ran 
 
72 SHAKSPEREAN STATISTICS. 
 
 through several editions. No author can boast of so 
 numerous an array of commentators and illustrators ; 
 and no other author's works could have been capable of 
 bearing such a mass of learning and critical acumen, and 
 not unfrequently a great amount of rubbish. The pub- 
 lication of these works, however, proves the great popu- 
 larity of the Bard of Avon, both in the literary and 
 critical world, as well as amongst the general public. 
 Amongst all classes his works have gradually worked 
 their way, and there are now few persons to be met with 
 who have not either read, or know his works by 
 representation. 
 
 The following selection embraces the principal 
 works published in that class of Shaksperean literature, 
 which includes the biographical and the critical. Many 
 of them, especially those written within the last eighty 
 years, will well repay perusal, for they certainly serve to 
 expand the breadth and massiveness of Shakspere's 
 proportions, to promote a deeper insight and a greater 
 knowledge of his works, and enkindle a love and ad- 
 miration of the complete understanding of the nature of 
 humanity, its development and realization, which is ever 
 found in the pages of his precious volume. 
 The Tragedies of the last age considered and 
 
 examined by the practice of the Ancients, 
 
 by Thomas Rymer, 8vo. . . . . 1678 
 
 The Impartial Critic ; or, some Observations on 
 
 Mr. Rymer's late book, entitled a short 
 
 View of Tragedy, by John Dennis, 4to. 1692 
 
 An Essay on the Genius and Writings of Shak- 
 
 spere, by John Dennis, 8vo. 1712 
 
 Critical Observations on Shakspere, by John 
 
 Upton, 8vo. . . . . . . 1746 
 
SHAKSPEREAN STATISTICS. 73 
 
 Shakespear Illustrated ; or, the Novels and 
 Histories on which the plays of Shakespear 
 are founded, by Charlotte Lennox, 3 vols., 
 i2mo. .. .. 1753-4 
 
 Dr. Johnson's Preface to his edition of Shak- 
 
 spere, 8vo. . . . . . . 1765 
 
 Prefaces to Shakspere's Plays, by Dr. Johnson, 
 Mr. Pope, Mr. Theobald, Sir J. Hamner 
 and Dr. Warburton, with some account of 
 the life of Shakspere, by Rowe . . 1765 
 
 An Essay on the Learning of Shakspere, by 
 
 Dr. Richard Farmer, 8vo. . . 1767 
 
 An Essay on the Writings and Genius of 
 Shakspere, compared with Greek and 
 French Dramatic Poets, with remarks upon 
 the misrepresentations of M. de Voltaire, 
 by Mrs. Montagu, 8vo. . . . . 1769 
 
 A Philosophical Analysis, and Illustrations 
 of some of Shakspere's Characters, by 
 W. Richardson, 12 mo. . . . . 1774 
 
 The Morality of Shakspere's Dramas, by 
 
 Mrs. Griffiths, 8vo. . . . . 1775 
 
 An Essay on the Dramatic character of Sir 
 
 John Falstaif, by Mr. Morgan, 8vo. . . 1777 
 
 Modern Characters from Shakspere, alpha- 
 betically arranged, 12 mo. .. 1778 
 
 Remarks, Critical and Illustrative, on the text 
 and notes of Shakspere, by Joseph Ritson, 
 8vo. . . . . . . . . 1783 
 
 An Essay on the character of Hamlet, by 
 
 Thomas Robertson, 4 to. .. .. 1788 
 
 An index to remarkable passages and words 
 made use of by Shakspere, by S. Aycough, 
 royal 8vo. . . . . . . 1790 
 
74 SHAKSPEREAN STATISTICS. 
 
 Miscellaneous Papers and Legal Instruments 
 under the Hand and Seal of William 
 Shakspere, by W. H. Ireland, imperial 4to. 1796 
 
 This work is entirely composed of forged papers, and their pub- 
 lication led to a long controversy between Shaksperean commentators. 
 For nine years this controversy was continued with much bitterness 
 and personality, and it was ultimately closed by the confession of 
 the author of the forgery, W. H. Ireland, in his work containing 
 "the particulars of his fabrications of the Shakspere MS.," pub- 
 lished in 1805. 
 
 A complete Verbal Index to the Plays of 
 
 Shakspere, by Francis Twiss, 2 vols., 8vo. 1805-7 
 
 Illustrations of Shakspere and of Ancient Man- 
 ners, with Dissertations on the Clowns and 
 Fools of Shakspere, on Gesta Romanorum, 
 and on the English Morris Dance, by 
 Francis Douce, 2 vols., 8vo. . . 1807 
 
 Comments on the Commentators of Shakspere, 
 
 by John Pye, 8vo. . . . . 1807 
 
 Comments on the several editions of Shak- 
 spere's Plays by the Right Hon. John 
 Monck Mason, 8vo. .. . . 1807 
 
 Schlegel's (A. W.) Course of Lectures on Dra- 
 matic Art and Literature, translated from 
 the German, by J. Black, 2 vols., 8vo. . . 1815 
 
 This work was reprinted and published by Bohn in one volume 
 in 1846. The portion of the work that dwells upon the works of 
 Shakspere commences at page 338 and extends to page 446. There 
 is much merit and originality to be found in this work, and the 
 criticisms are most able and genial. 
 
 Characters of Shakspere's Plays, by William 
 
 Hazlitt, 8vo. . . . . . . 1817 
 
 Shakspere and his Times ; including the Bio- 
 graphy of the Poet, Criticism on his Genius 
 and his Writings, &c., by Nathan Drake, 
 2 vols., 4to. .. .. .. .. 1817 
 
SHAKSPEREAN STATISTICS. 75 
 
 The Life of Shakspere, by E. Malone, with an 
 Essay on the Phraseology of the Poet and 
 his Contemporaries, by J. Boswell, 8vo. 1821 
 
 A Glossary ; or, a Collection of Words, Phrases, 
 Names and Allusions to Customs, Proverbs, 
 &c., which have been thought to require 
 illustration in the works of English 
 Authors, particularly Shakspere, by Arch- 
 deacon Nares, 4to. .. .. .. 1822 
 
 This work has been re-edited by J. O. Halliwell and Thomas 
 Wright, and their revised edition was published in 2 vols., 8vo., in 
 1859. 
 
 Life of Shakspere ; Enquiries into the Origi- 
 nality of his Dramas, Plots and Characters ; 
 and Essays on the Ancient Theatres and 
 Theatrical Usages, by H. Skottowe, 2 vols., 
 8vo. . . . . . . . . 1824 
 
 Essay on the Genius of Shakspere, with Critical 
 Remarks on the Characters of Romeo, 
 Hamlet, Juliet and Ophelia, by H. M. 
 Graves, post 8vo. .. .. .. 1826 
 
 Memorials of Shakspere; or, Sketches of his 
 Character and Genius, by various writers, 
 now first collected, with a prefatory and 
 concluding notice, by N. Drake, 8vo. .. 1828 
 
 Characteristics of Women ; Moral, Political and 
 Historical, with numerous illustrations from 
 the author's designs, by Mrs. Jameson, 
 2 vols., 8vo. . . . . . . . . 1832 
 
 In this work the heroines of Shakspere are most fully and ably 
 criticised, for the authoress has brought to her task a well-stored 
 and cultivated mind, with strong perceptive powers, and a real love 
 for the author whose creations she analyses. She has divided the 
 heroines into four classes: (i) characters of intellect, in which she 
 includes Portia, Isabella, Beatrice and Rosalind ; (2) characters of 
 
76 SHAKSPEREAN STATISTICS. 
 
 passion and imagination : Juliet, Helena, Perdita, Viola, Ophelia 
 and Miranda ; (3) characters of the affections ; Hermione, Desdemona 
 and Cordelia; (4) historical characters : Cleopatra, Octavia,Volumnia, 
 Constance of Bretagne, Elinor of Guienne, Blanche of Castile, 
 Margaret of Anjou, Katharine of Arragon, and Lady Macbeth. 
 
 New Facts regarding the Life of Shakspere by 
 
 J. P. Collier, post 8vo. . . . . 1835 
 
 New Particulars regarding the works of Shak- 
 spere, by J. P. Collier, post 8vo. . . 1836 
 
 Farther Particulars regarding Shakspere and 
 
 his Works, by J, P. Collier, post 8vo. . . 1839 
 
 William Shakspere : a Biography, by Charles 
 
 Knight, 8vo. . . . . . . 1842 
 
 Shakspere's Library : a collection of the Novels, 
 Tales and Romances used by Shakspere in 
 the fabrication of his Dramas ; now first 
 collected and printed from the early 
 editions, with introductory Notes, by J. P. 
 Collier, 2 vols., 8vo. . . . . 1843 
 
 Life of Shakspere with a History of the Early 
 
 English Stage, by J. P. Collier, 8vo. . . 1844 
 
 New Illustrations of the Life, Studies and Writ- 
 ings of Shakspere, by Joseph Hunter, 
 2 vols., 8vo. . . . . . . . . 1845 
 
 Shakspere's Dramatic Art and his relation to 
 Calderon and Goethe, by Dr. H. Ulrici, 
 translated from the German, 8vo. . . 1846 
 
 Studies of Shakspere, with Observations and 
 
 Criticisms, by G. Fletcher, crown 8vo. . . 1847 
 
 An Enquiry into the Philosophy and Religion 
 of Shakspere, by W. J. Birch, M.A., crown 
 8vo. . . . . . . . . 1848 
 
 Life of Shakspere, including many particulars 
 respecting the Poet and his Family never 
 before published, by J. O. Halliwell, 8vo. 1848 
 
SHAKSPEREAN STATISTICS. 77 
 
 Lectures on Shakspere, by H. N. Hudson, 
 
 2 vols., crown 8vo., New York . . 1848 
 
 Notes and Lectures upon Shakspere and some 
 of the Old Poets and Dramatists, with other 
 Literary Remains, by S. T. Coleridge, 
 edited by Sara Coleridge, 2 vols., i2mo. . . 1849 
 
 Studies of Shakspere ; forming a Companion 
 to every edition of the Text, by C. Knight, 
 8vo. . . . . . . .. 1849 
 
 Shakspere and his Times, with Notices of his 
 principal Dramas, translated from the 
 French of Guizot, 8vo. . . . . 1852 
 
 Notes and Emendations to the Text of Shak- 
 spere' s Plays, from the early manuscript 
 corrections in a copy of the folio of 1632, 
 in the possession of J. P. Collier, 8vo. . . 1853 
 
 The publication of this volume led to a very strong controversy, 
 in which the Rev. A. Dyce, J. O. Halliwell, Hardy, R. G. White, 
 Ingleby, Knight, Singer and Sir F. Madden took an active part in 
 opposition to J. P. Collier and the supporters of the Perkins emen- 
 dations, foremost of whom was the Athenaeum. Some warmth of 
 temper was exhibited in the controversy in conjunction with some 
 amount of personality, and much industry and research were also 
 displayed. The general conclusion held by most of those who had 
 engaged in the struggle and by those who had read with attention 
 the articles and works that had been produced, was, that most of 
 the emendations were fabrications of Mr. Collier, and the others, 
 simply the gathering together of suggestions of various critics, many 
 of which had already been accepted. 
 
 Shakspere's Scholar; being Historical and 
 Critical Studies of his Text, Characters and 
 Commentators, by Richard Grant White, 
 8vo. .. .. .. New York, 1854 
 
 Shakspere's Versification, and its apparent 
 irregularities, explained by examples from 
 early and late English Writers, by W. Sid- 
 
78 SHAKSPEREAN STATISTICS. 
 
 ney Walker, edited by W. N. Lettsom, 
 foolscap 8vo. . . . . . . 1854 
 
 Seven Lectures on Shakspere and Milton, by 
 the late S. T. Coleridge, edited by J. P. 
 Collier, 8vo. . . . . . . 1856 
 
 These Lectures were delivered at the Scot's Corporation Hall, 
 in Crane Court, Fleet Street, by Samuel Taylor Coleridge, at the close 
 of the year 1811 and the beginning of 1812. Mr. Collier states they 
 are printed from his original notes, and though they fail to do justice 
 to the man and the subject, he holds they contain " criticisms, ob- 
 servations, and opinions, well worthy of attention from their truth, 
 their eloquence, and their originality." In this volume Mr. Collier 
 also gives a list of every manuscript note and emendation contained 
 in his copy of the folio of 1632. They are arranged in parallel 
 columns, and the suggested alteration or emendation is printed in 
 italic. 
 
 Shakspere's England ; or, Sketches of our Social 
 History in the reign of Elizabeth, by 
 G. W. Thornbury, 2 vols., crown 8vo. . . 1856 
 
 Remarks on the Differences in Shakspere's 
 Versification in different periods of his Life, 
 by C. Bathurst, foolscap 8vo. . . . . 1857 
 
 The English of Shakspere, illustrated in a 
 philological commentary on Julius Caesar, 
 by G. L. Craik, i2mo, . . . . 1857 
 
 The Philosophy of the plays of Shakspere Un- 
 folded, by Delia Bacon, with a Preface by 
 Nathaniel Hawthorne, 8vo. . . . . 1857 
 
 The principal object sought to be achieved by this work, is to 
 show that Shakspere was not the author of the various comedies, 
 histories and tragedies, usually ascribed to him, and that the author- 
 ship belongs to the great philosopher, Lord Bacon. That the 
 authoress does not succeed in her undertaking is self evident from a 
 perusal of her work. The attempt gave rise to very little controversy 
 in this country, Miss Bacon's work falling almost still-born from the 
 press. This same opinion was advocated by William Henry Smith, 
 who seems to have arrived at his conclusion entirely independent of 
 Miss Bacon, though, like her, he fails to substantiate his "crazy 
 notion." 
 
SHAKSPEREAN STATISTICS. 79 
 
 Lectures on English History and Tragic Poetry, 
 as illustrated byShakspere,by Henry Reed, 
 crown 8vo. . . . . . . . . 1858 
 
 New Exegisof Shakspere, and the interpretation 
 
 of his Plays on the principle of Races', 8vo. 1859 
 
 Critical Examination of the Text of Shakspere, 
 together with Notes on his Plays and Poems, 
 by the late W. S. Walker, edited by W. N. 
 Lettsom, 3 vols., foolscap 8vo. . . . . 1859 
 
 "Very often we find ourselves differing from Mr. Walker on 
 readings and interpretations, but we seldom differ from him without 
 respect for his scholarship and care. His are not the wild guesses 
 at truth which neither gods nor men have stomach to endure, but the 
 suggestions of a trained intelligence and a chastened taste. Future 
 editors and commentators will be bound to consult these volumes, 
 and consider their suggestions." Athen&um. 
 
 The Psychology of Shakspere, by Dr. Bucknill, 
 
 8vo. .. .. .. .. 1859 
 
 Shakspere Papers : Pictures Grave and Gay, 
 
 by W. Maginn, post 8vo. .. .. 1859 
 
 Remarks on the Medical Knowledge of Shak- 
 spere, by Dr. Bucknill, 8vo. . . . . 1 860 
 
 The Mind of Shakspere, by the Rev. A. Morgan, 
 
 foolscap 8vo. . . . . . . 1 86 1 
 
 Shakspere, the Player and the Poet, Facts and 
 Traditions concerning Shakspere, by W. S. 
 Fullom, 8vo. . . . . . . 1 86 1 
 
 Shakspere ; a Critical Biography, and an es- 
 timate of the Facts, Fancies, Forgeries and 
 Fabrications regarding his Life and Works, 
 which have appeared in remote and recent 
 Literature, by Samuel Neil, crown 8vo. . . 1861 
 
 The Received Text of Shakspere' s Dramatic 
 Works, and its improvement, by Samuel 
 Bailey, vol. i, 8 vo. .. .. .. 1862 
 
 The second volume was not published till 1866. 
 
80 SHAKSPEREAN STATISTICS. 
 
 Shakspere Commentaries, by Professor Ger- 
 vinus, translated under the author's super- 
 intendence, from the second German 
 edition, by Miss F. E. Bunnett, 2 vols., 8vo. 1862 
 
 This is a most valuable addition to Shaksperean literature, for 
 its author is thoroughly familiar with most of that which Shakspere 
 himself had wrote, and also with most of that had been written about 
 him. It is a work which is held in very high esteem by the German 
 people, who, we are told look upon it as "a. critical and historical 
 work, unmatched in the literature of any country for the power of 
 appreciation and the critical acumen which are brought to bear upon 
 the great author under illustration. Not only does Gervinus give 
 a life of the dramatist, based on the elaborate materials which 
 English literature has provided, but he analyses each play, investi- 
 gates its tendencies, follows it in its development, and examines with 
 the most minute detail every character in it, subordinate as well as 
 principal." Thimm's Shaksfieriana, p. 55. 
 
 Shakspere Characters, chiefly those subordinate, 
 
 by Charles Cowden Clarke, 8vo. . . 1863 
 
 A Study of Hamlet, by Dr. Conolly, foolscap 
 
 8vo. . . . . . . . . 1863 
 
 Shakspere' s Home at New Place, Stratford-on- 
 
 Avon, by J. C. M. Bellew, crown 8vo. . . 1863 
 Notes, Criticisms and Correspondence upon 
 
 Shakspere's Plays, by J. H. Hackett, i2mo. 
 
 New York, 1863 
 Shakspere, by Victor Hugo, 8vo. . . . . 1864 
 
 This is one of the best works that has been written on Shakspere 
 by a French author. It is somewhat digressive in its character, yet 
 the digressions are pleasing. The life of Shakspere is most ef- 
 fectively sketched by M. Hugo. There is nothing new in the details, 
 but they are manipulated with great skill, producing an air of novelty 
 which is quite refreshing to the reader. With M. Hugo " Hamlet 
 is the chef d'ceuvre of the tragedy dream." 
 
 The Life and Genius of Shakspere, by Thomas 
 
 Kenny, 8vo. . . . . . . . . 1864 
 
 Shakspere in Germany in the sixteenth and 
 seventeenth centuries, an Account of 
 
SHAKSPEREAN STATISTICS. 8 1 
 
 the English Actors in Germany and the 
 Netherlands,by Albert Cohen, 4to. . . 1864 
 
 An Historical Account of New Place, the 
 residence of Shakspere at Stratford-upon- 
 Avon, by J. O. Halliwell, with numerous 
 engravings and facsimiles, folio . . 1864 
 
 The Life Portraits of William Shakspere ; a 
 History of the various representations of 
 the Poet, with an examination into their 
 Authenticity, by J. H. Friswell, illustrated 
 by photographs, small 4to. 1864 
 
 Shakspere, his Birthplace, Home and Grave ; 
 a Pilgrimage to Stratford-on-Avon in the 
 Autumn of 1863, by the Rev. J. M. Jephson, 
 with photographic illustrations, small 4to. 1864 
 
 Shakspere : his Inner Life, as intimated in his 
 
 writings, by John A. Heraud, 8vo. . . 1865 
 
 This is a work in which the intellectual development of Shak- 
 spere is chiefly treated. The suggestions with regard to the Poet's 
 private character are very few. His moral nature and his intellectual 
 method are the two aspects most prominently dwelt on, and these 
 are treated in an original manner. 
 
 William Shakspere, by Cardinal Wiseman, 8vo. 1865 
 
 This is a mere fragment. It was the author's intention to have 
 delivered it as a lecture, but it was never completed, nor did he ever 
 attempt to deliver it. The Cardinal knew not Shakspere by represen- 
 tation, nor through the aid of annotated editions ; his love and 
 knowledge of his works being gathered from study of the text. He 
 places Shakspere with Homer and Dante in height of genius and 
 power with mankind. 
 
 Shakspere's Knowledge and Use of the Bible, 
 
 by Bishop Wordsworth, crown 8vo. . . 1864 
 
 Memoirs of the Life of William Shakspere, 
 with an Essay towards the expression of 
 his genius, and an account of the rise and 
 
82 SHAKSPEREAN STATISTICS. 
 
 progress of the English Drama, by R. Gr. 
 
 White, post 8vo. . . . . . . 1865 
 
 Remarks on the Sonnets of Shakspere ; with 
 the Sonnets showing that they belong to 
 the Hermetic class of writings, and ex- 
 plaining the general meaning and purpose, 
 small 8vo. .. .. New York, 1865 
 
 Shakspere Sonnets, never before interpreted ; 
 his private friends identified ; together 
 with a recovered likeness of himself, by 
 Gerald Massey, 8vo. .. .. .. 1866 
 
 Shakspere's Delineations of Insanity, Imbecility 
 
 and Suicide, by A. O. Kellogg, 8vo. New York, 1866 
 The Shakspere Expositor : an aid to the perfect 
 understanding of Shakspere's Plays, by 
 Thomas Keightley, foolscap 8vo. . . 1867 
 
 The Mad Folk of Shakspere, by Dr. Bucknill, 
 
 second edition, crown 8vo. .. . . 1867 
 
 The Authorship of Shakspere, by Nathaniel 
 
 Holmes, crown 8vo. New York, 1867 
 
 This work was written in support of the opinions enunciated by 
 Miss Delia Bacon, and of the two works the North American Review 
 for January, 1867, thus pithily remarks : ' ' we have earned the right by 
 hard labour to assert that there is not in the 1,100 pages of Delia 
 Bacon and Judge Holmes the shadow of a shade of an argument in 
 support of their wild and most absurd hypothesis. Bacon was as 
 little capable of writing " Shakspere's Plays" as any other man."- 
 " Within that circle none durst walk but he." 
 
 A Dictionary of the Language of Shakspere, 
 
 by the late Swynfen Jervis, demy 4to. . . 1868 
 
 An introduction to the Philosophy of Shakspere's 
 
 Sonnets, by Richard Simpson, crown 8vo. 1868 
 
 Shakspere's Treasury of Wisdom and Know- 
 ledge, by F. Stearns, crown 8 vo. . . 1 869 
 
 Shakspereana Genealogia, by George Russell 
 
 Trench, 8vo. . . . . . . 1869 
 
SHAKSPEREAN STATISTICS. 83 
 
 The Sonnets of Shakspere solved, with the 
 mystery of his friendships, love and rivalry 
 revealed ; with new information about Sir 
 P. Sidney's Sonnets and the poetry of the 
 period, by Henry Brown, 8vo. . . . . 1869 
 
 Shakspere and the Emblem Writers of his age, 
 with illustrations from the original wood- 
 cuts and engravings, by Henry Green, 
 M.A., medium 8vo. . . . . . . 1870 
 
 Notes and conjectural emendations of certain 
 doubtful passages in Shakspere's Plays, by 
 P. A. Daniel, crown 8vo. . . . . 1870 
 
 A Shaksperian Grammar : an attempt to illus- 
 trate some of the differences between 
 Elizabethan and Modern English, by E. A. 
 Abbott, M.A., crown 8vo. . . . . 1870 
 
 Of this work no less than three editions were called for in the 
 first year of its publication. This success led to considerable 
 additions and encouraged its " author to endeavour to make the work 
 somewhat more useful, and to render it, as far as possible, a complete 
 book of reference for all difficulties of Shaksperean syntax or prosody. " 
 
 The Method of Shakspere as an artist, deduced 
 from an Analysis of his leading Tragedies 
 and Comedies, by H. Ruggles, crown 8vo., 
 
 New York, 1871 
 
 The Ornithology of Shakspere, by J. E. Hartwig 1872 
 Shakspere Commentaries, by Professor Gervinus, 
 translated by Miss F. E. Bunnett, second 
 edition, 2 vols., 8vo. . . . . . . 1874 
 
 Of illustrated editions of the works of Shakspere a 
 very large number have been published, yet without 
 taking these into consideration, the number of special 
 illustrated works relating to the Shaksperean drama is 
 very great, not less than ninety works of engravings 
 
84 SHAKSPEREAN STATISTICS. 
 
 have been published in the United Kingdom, illustrative 
 of the characters, scenes, costumes, and incidents of the 
 plays and poems. Nor has Music, twin-sister of Poetry, 
 failed to wed her charms to the poet's strains. The 
 names of Locke, Arne, Purcell, Arnold, Linley, Boyce, 
 Nicks, Walsh, Horn, Bishop, Mendelssohn, Hatton, and 
 Macfarren, afford a striking example of the popularity 
 of the poet's lines and of the wealth of talent, in the 
 world of sweet sounds, which has been devoted to his 
 works. 
 
 In other lands the fame of our bard is a fact of the 
 day. In some, so much so, that it hath been remarked, 
 that Shakspere in Germany is better known and under- 
 stood than in his own country. This is, however, an 
 exaggerated statement, possessing only an approximation 
 to the truth, not the absolute truth. It is most undeniable 
 that much attention has been given to the works of 
 Shakspere by the German literary world, and the results 
 of this attention and study have also been given to the 
 German nation, still it has not been nor can it be 
 shown that the German people possess that close 
 acquaintance, amounting to familiarity, which dis- 
 tinguishes the English people, and which has left its 
 impress upon our national character : yet it cannot be 
 doubted, that the works of Shakspere are very highly 
 estimated and valued in the land of Germany, and that 
 they have exerted great influence in their relation to 
 German dramatic art. 
 
 Before the year 1599, some of Shakspere' s works 
 were made known to the German people by the com- 
 panies of English actors who made tours through the 
 German states. From the commencement of the 
 seventeenth century to the year 1640, several of the 
 plays of Shakspere were played before the various 
 
SHAKSPEREAN STATISTICS. 85 
 
 courts and also in several of the German towns. The 
 Thirty Years' War, however, effected a complete change 
 in the taste of the German people, and the French classic 
 drama became the rage, and it is only in an indirect 
 way that the name of Shakspere during this period is 
 mentioned by any German author. In 1682, in a work 
 on Poesie, by Morhoff, the name of Shakspere occurs, 
 though the writer knows not his works. In 1708, 
 Barthold Fiends mentions "the famous English tra- 
 gedian Shakspere." In 1740, the name of Shakspere 
 occurs in the works of Boden. In 1741, Baron Von 
 Borck, the Prussian ambassador at London, translated 
 "Julius Caesar" into German Alexandrines. From 1741 
 to 1758 some faint voices were raised in praise of the 
 works of Shakspere, but with little or no result. In 
 1759, a German author, K. C. Canzler, published a work 
 in opposition to the progress of Shakspere in Germany, 
 but his effort was not a successful one. In the same 
 year G. E. Lessing, one of the greatest of the German 
 critics and the true regenerator of the German drama, 
 first used his powerful pen in defence of the works of 
 Shakspere. From 1762 to 1794, he was the chief 
 introducer and upholder of Shakspere among the German 
 literari and the German people. His efforts were 
 materially assisted by the labours of Herder and Goethe, 
 and by the non-existence of any national taste among 
 their countrymen. The German people naturally revolted 
 against the classic frigidity of the French school of 
 dramatists, whose constant observance of the unities 
 resulted in a continuous series of tragedies, always 
 possessing the same features. "Hence," as Goethe 
 observes, " French tragedies are parodies of themselves." 
 The national representatives of poetry and poetic feeling 
 at that time were very feeble, and the German nation 
 
86 SHAKSPEREAN STATISTICS. 
 
 was aroused by Shakspere's "colossal strength, pro- 
 fundity of thought, originality and audacity of language, 
 his beauty, pathos, sublimity, wit, and wild overflowing 
 humour, and his accuracy of observation, as well as 
 depth of insight into the mysteries of passion and 
 character." * 
 
 The estimation in which Shakspere was held by the 
 German people in the i8th century has in no way 
 decreased in the present. On the contrary, it has much 
 increased, and the general result of that estimation is 
 best shown in the numerous editions of his collected 
 works which have appeared in Germany, in the nu- 
 merous editions of separate plays, in the number of the 
 works which have been published illustrative of his 
 meaning, and in their constant attempts to show his 
 influence upon the progress and development of the 
 English language. 
 
 Of the complete works of Shakspere there have been 
 published in Germany forty-eight editions. Of editions 
 of the plays published separately there have appeared : 
 
 COMEDIES: All's Well that Ends Well, eleven; As 
 You Like It, twelve ; Comedy of Errors, twelve ; Love's 
 Labour Lost, eleven ; The Merchant of Venice, twenty ; 
 Measure for Measure, eight ; The Merry Wives of 
 Windsor, eighteen ; A Midsummer Night's Dream, twenty ; 
 Much Ado about Nothing, eleven; The Taming of the 
 Shrew, fourteen; Twelfth Night, eleven; The Tempest, 
 seventeen ; and The Winter's Tale, eleven. 
 
 HISTORIES: Henry IV., parts i and 2, thirteen; 
 Henry V., nine; Henry VI., the three parts, eight ; 
 Henry VIIL, ten ; King John, eleven ; Richard II., fifteen; 
 Richard III., seventeen. 
 
 TRAGEDIES : Antony and Cleopatra, twenty-one ; 
 * Lewes' Life of Goethe, p. 90. 
 
SHAKSPEREAN STATISTICS. 87 
 
 Coriolanus, twenty ; Hamlet, fifty-three ; Julius Caesar, 
 twenty-seven ; King Lear, twenty-two ; Macbeth, thirty- 
 nine ; Othello, twenty -two ; Pericles, eighty Romeo and 
 Juliet, thirty-five ; Timon of Athens, twelve ; Titus 
 Andronicus, eleven. 
 
 Of plays ascribed to Shakspere by the German 
 critics, there have been published the following editions : 
 Yorkshire Tragedy, five\ Locrine, five-. The Merry 
 Devil of Edmonton, six ; Sir John Oldcastle, six ; Lord 
 Cromwell, five ; The London Prodigal, eight ; The 
 Puritan Widow, five ; The Pinner of Wakefield, three; 
 Edward III., three ; The Birth of Merlin, two ; Fair 
 Emma, two ; and Arden of Feversham, five. 
 
 Of the poems ten collected editions have been pub- 
 lished. Of the sonnets, separately published, seven 
 editions ; of Venus and Adonis, three ; and of the Rape 
 of Lucrece, three. 
 
 To enumerate the articles which have appeared 
 in the various German literary journals would be a task 
 of some labour and no little difficulty, for it would " take 
 all the swift advantage of the hours' 1 and leave their 
 number yet untold, for to "tell the legions I can never." 
 Apart from fugitive articles, the number of distinct works 
 which have been written and published in the German 
 language does not amount to less than two hundred and 
 forty. 
 
 Besides these, twenty volumes of plates, by German 
 artists, have also been published illustrative of Shaks- 
 pere's works, and the Collier controversy has reached 
 the land of Germany, for five writers on that subject 
 have appeared in the field. Among the principal Ger- 
 man critics may be mentioned the names of Lessing, 
 Schlegel, Tieck, Horn, Skottowe, Simrock, Engel, 
 Ranke, Goethe, Herder, Ulrici, Delius, Morgenblatt, 
 Lemcke, Woeffel, and Gervinus. 
 
88 SHAKSPEREAN STATISTICS. 
 
 The state of feeling of the German people with 
 regard to Shakspere, disclosed in the foregoing facts, 
 requires no comment. In the year 1864, they far excel- 
 led in their celebration of the Shakspere tercentenary 
 our own efforts at home, and the more certain to continue 
 this admiration and to keep before the German public 
 the works of Shakspere, the Berlin Society for the 
 Promotion of the Study of Modern Languages, offered 
 prizes for essays on the following subjects : I. " Shak- 
 spere' s Influence on the Development of the English 
 Language." These essays comprise, i. An Account 
 of the condition of the English language used by 
 writers immediately preceding Shakspere. 2. Illustra- 
 tions from the works of Shakspere, showing the gradual 
 development of the language. 3. An investigation of 
 the relation of the peculiarities of Shakspere' s lan- 
 guage to those of his contemporaries. 4. Examples 
 showing the influence of Shakspere on the language 
 of English poetry. II. " A History of the Criticism of 
 the Shaksperean Drama in Germany and the countries 
 of the Romance languages." The essays may be 
 written in either English, French, or German. In 1864, 
 a German Shakspere Society, with its centre in Weimar, 
 was established by Messrs. Ulrici, Dingelstedt, Oechel- 
 haliser, Rodenstedt, Eckhardt, Gottschall, Koster, 
 Lemcke, Leo, and Marshall. The object of this society 
 is to illustrate the Poet's text, and to spread a knowledge 
 of his poetry among German readers. The first year 
 has been eminently successful, and so also have the suc- 
 ceeding years. They have founded a Shakspere library 
 in Weimar, established a Shakspere Year Book, with a 
 certainty of its continuance for some years. Professor 
 Rodenstedt is the editor of the year book, and Dr. Ko- 
 benstein is to furnish thereto a history of Shakspere in 
 Germany. The tenth General Meeting of this Society 
 
SHAKSPEREAN STATISTICS. 89 
 
 was held at Weimar, on the 23rd of April last, and the 
 eleventh annual volume of the Society was published in 
 the following month. 
 
 In France, the works of Shakspere have made 
 progress, though the school of which Shakespere is the 
 representative, is widely different to that of the French. 
 In 1745-48, Cymbeline, Hamlet, and Othello, had been 
 introduced to the French stage by Ducis, much to the 
 admiration of the play-goers of the city of Paris. 
 These pieces are not really reproductions or translations 
 of Shakspere, they are French tragedies based upon 
 Shaksperean elements. The success of Ducis awaken- 
 ed the curiosity of his cultivated countrymen, and made 
 them anxious to become acquainted with the works of 
 Shakspere. In 1749, appeared the first criticism upon 
 the works of Shakspere in France. It was written by 
 Voltaire, and though he judged the English bard by the 
 rules of the school in which he himself had been trained 
 and educated, and accordingly by them condemned 
 Shakspere as an artist, yet he failed not to point out the 
 great genius which marks the poet's productions. His 
 taste was offended by what Voltaire considered Shak- 
 spere's violations of rules, and he therefore admired him 
 most as a great poet, and not as a dramatist. In 1776, 
 Voltaire produced his celebrated letter to the French 
 Academy, in which he displayed his fears that the taste 
 for the legitimate drama among his countrymen was in 
 danger of being destroyed by the growing taste which 
 the French people evinced for Shakspere, whose col- 
 lected works had just been translated by Le Tourneur, 
 and published in France. In spite of Voltaire's 
 opposition, Shakspere slowly but surely affected the 
 French taste. Gradually the expansion of the French 
 mind took place, and now the influence of Shakspere 
 
 M 
 
90 SHAKSPEREAN STATISTICS. 
 
 upon the French drama and French literature is very 
 great. During the present century Shakspere has been 
 translated and commented upon by Guizot, Barante, 
 Villemain, Duport, Chasles, Deschamps, De Vigny, 
 Victor Hugo, and others. Remarkable is the change in 
 French opinion from the time of Voltaire to the present, 
 for Alfred de Vigny, who has been a constant student of 
 Shakspere for 29 years, holds that Shakspere has soared 
 to the highest point that modern tragedy can reach ; 
 and that he has arrived there by his disregard of 
 artificial rules, which allowed full scope for his magni- 
 ficent genius. In this opinion he is supported by the 
 most brilliant of French dramatists, M. |, Victor Hugo, 
 who above all other dramatists placeth William Shak- 
 spere. This state of opinion in France relative to the 
 merits of Shakspere has not been arrived at without 
 much opposition. The disciples of Voltaire have from 
 time to time attacked and sought to disparage the works 
 of the bard of Avon, but their efforts have fortunately 
 proved fruitless, for, to use the words of M. Nisard, "Time 
 has elevated Shakspere above criticism, probably because 
 it has raised him above eulogium." 
 
 In the French language nineteen collected editions 
 of the works of Shakspere have been published. Of 
 separate editions of the plays, the following numbers 
 have been brought out : 
 
 COMEDIES. The Merchant of Venice, seven; The 
 Merry Wives of Windsor, five ; The Tempest, two. 
 
 HISTORIES. Henry VI., the three parts; King 
 John, one ; and Richard III., four. 
 
 TRAGEDIES. Antony and Cleopatra, one; Corio- 
 lanus, three; Cymbeline, one ; Hamlet, fifteen ; Macbeth, 
 seventeen ; Julius Caesar, seven ; Lear, six; Othello, 
 eighteen ; Romeo and Juliet, nine ; Timon of Athens, 
 five. 
 
SIIAKSPEREAN STATISTICS. 9 1 
 
 In 1866, M. F. V. Hugo, the son of Victor Hugo, 
 the talented poet, added two volumes to his translation 
 of Shakspere, under the title of Les Apocryhes, which 
 contains Titus Andronicus, A Yorkshire Tragedy, The 
 Two Noble Kinsmen, Edward III., and Arden of Fe- 
 versham. 
 
 Of the poems and sonnets there have been published 
 four editions ; &&& forty-eight works, critical and illustra- 
 tive of Shakspere, have appeared in France. The fugitive 
 articles which have been published in the various French 
 literary journals on the works of Shakspere, are very 
 numerous. 
 
 In the Italian language four editions of the collected 
 works of Shakspere have been published, besides the 
 undermentioned plays, of which separate editions have 
 appeared : 
 
 COMEDIES. The Tempest, three ; A Midsummer 
 Night's Dream, two ; and The Merchant of Venice, one. 
 
 HISTORIES. King John, one ; Richard II., two / 
 Henry IV., two ; and Richard III., three. 
 
 TRAGEDIES. Coriolanus, two; Cymbeline, two ; 
 Hamlet, three ; Julius Caesar, four ; King Lear, two ; 
 Macbeth, five ; Othello, six ; and Romeo and Juliet, 
 nine. 
 
 Three works, critical and explanatory, have also 
 been published in the Italian language. 
 
 In the Danish language three editions of the col- 
 lected works of Shakspere have been published. Of 
 separate plays the following editions have been pub- 
 lished : The Tempest, one; Merchant of Venice, one; 
 Hamlet, two\ Twelfth Night, one; King Lear, two ; 
 Richard III., one ; and Macbeth, two. 
 
 In the Dutch language only one complete edition 
 of the works of Shakspere has at present been produced. 
 
Q 2 SHAKSPEREAN STATISTICS. 
 
 In 1778 to 1782, an edition of selections was published, 
 embracing fourteen of the plays. Of separate editions 
 of the plays, the following have been published : 
 
 COMEDIES. As You Like it, Comedy of Errors, The 
 Merry Wives of Windsor, Taming the Shrew, and The 
 Two Gentlemen of Verona, one edition each ; The Mer- 
 chant of Venice and The Tempest, four editions each ; 
 and Much Ado about Nothing, two editions. 
 
 HISTORIES. Henry IV. and King John, one edition 
 each ; and Richard III., three editions. 
 
 TRAGEDIES. Coriolanus, Julius Caesar, Pericles, 
 and King Lear, one edition each ; Romeo and Juliet, 
 two editions ; Hamlet, four ; Antony and Cleopatra, 
 three ; Othello, six ; Macbeth, seven ; and Titus Andron- 
 icus, eight. 
 
 Twelve writers among the Dutch have produced 
 volumes upon the works of Shakspere. 
 
 In the Swedish language one edition of the collected 
 works has been published. This was translated by 
 Professor Hagberg, of the University of Lun. The 
 following plays have also been published separately : 
 Antony and Cleopatra, As You Like it, Hamlet, 
 Richard III., King Lear, Twelfth Night, Macbeth, The 
 Merry Wives of Windsor, Othello, Romeo and Juliet, 
 and The Tempest, one edition each ; Julius Caesar and 
 The Merchant of Venice, three editions each. An 
 edition of the Sonnets was published in 1871, translated 
 by Professor C. R. Wyblom, of the University of 
 Upsala. 
 
 In the Russian language one edition of the collected 
 works has been published, and King Lear and The 
 Merchant of Venice have each been published sepa- 
 rately. 
 
 In the Bohemian language one edition of the col- 
 
SIIAKSPEREAN STATISTICS. 93 
 
 lected works has been published. The following plays 
 have been published separately : Antony and Cleopatra, 
 Coriolanus, Cymbeline, Hamlet, Henry IV., Henry V., 
 Julius Caesar, King Lear, The Merchant of Venice, The 
 Merry Wives of Windsor, Othello, and Richard III., 
 one edition each ; Henry VI. and Romeo and Juliet, two 
 editions each. 
 
 In the Polish language two editions of the collected 
 works have been published, and two editions of selections 
 have also been been brought out. The following plays 
 have been published separately : All's Well that Ends 
 Well, Julius Caesar, King John, Macbeth, and Twelfth 
 Night, one edition each ; The Merry Wives of Windsor 
 and A Midsummer Night's Dream, two editions each. 
 
 In the Hungarian language one edition of the com- 
 plete works has been published, and the following plays 
 have been published separately: The Tempest, Two 
 Gentlemen of Verona, The Merry Wives of Windsor, 
 and Measure for Measure, one edition each ; Twelfth 
 Night, two editions. 
 
 In the Friesic language there has been published, 
 The Merchant of Venice, As You Like It, and Julius 
 Caesar. In the Romaic, or Modern Greek, Hamlet and 
 The Tempest. In the Wallachian, Romeo and Juliet. 
 In the Spanish, Romeo and Juliet and Hamlet, three 
 editions. In the Portuguese, Othello ; in Hebrew, 
 Othello ; and in the Bengalee, The Merchant of Venice 
 and Romeo and Juliet. 
 
 Apart from the native language of Shakspere, 
 editions of his complete works have been published in 
 ten other European languages, and editions of a portion 
 of his plays have been published in not less than 
 seventeen. The total number of editions of his complete 
 works which have appeared in various languages is 
 
94 SHAKSPEREAN STATISTICS. 
 
 569 ; the number of editions of selections is 34 ; 
 the number of works, critical and explanatory, 
 written upon his life, plays and poems, 1,003; the 
 number of editions of the plays published separately, 
 is 1,843, including all the various editions, in their 
 altered and unaltered forms ; the number of editions 
 of plays ascribed to him, is 134; the number of col- 
 lected editions of his poems, is 56 ; of his poems 
 published separately, 71 ; and the number of works 
 of engravings, illustrative of his meaning, is no. 
 
 These figures serve to show the extent and influence 
 of the works of Shakspere, an influence, which time 
 will increase, not destroy, for their value and worth 
 are being universally felt, known and acknowledged. 
 Throughout our "broad and wide" world, a more 
 complete knowledge is swiftly and surely extending of 
 his "world's volume," so that he " wins of all." So 
 high is the estimation in which his works are now 
 held that the four corners of the earth are not 
 "ignorant" of their worth, and all men and all nations 
 readily yield their homage and admiration. This 
 influence is won by their comprehensiveness, their 
 beauty, and above all their truthfulness ; and this 
 influence will inevitably be lasting, for time must 
 "forget itself," "blind oblivion swallow cities up," 
 and "mighty states" be "grated to dusty nothing," 
 ere Shakspere' s name and works shall fail to be loved, 
 honoured and revered. 
 
( 95 ) 
 
 ON SHAKSPEREAN ACTING. 
 
 TRUE Shaksperean criticism is the growth of the last 
 hundred years. Scarcely any of the Shaksperean 
 critics of the early and middle part of the eighteenth 
 century understood the nature and greatness of 
 Shakspere's works. Of the wonderful expansiveness 
 of the myriad-minded bard they had no conception, 
 neither did they comprehend the depth, strength, 
 sweetness, gentleness, in fact, the universality of his 
 genius. With some he was but a mere barbarian, warbling 
 " his wood notes wild," a blind and wildly luxuriant ge- 
 nius, possessing no germ of artistic power ; an untutored 
 child of nature, whose works were distinguished by 
 their irregularity and their want of judgment. That 
 this view is altogether wrong, modern criticism has 
 most triumphantly shown. This erratic poet is now 
 found to be possessed of the most consummate power 
 as an artist ; that not alone in the splendour of his 
 parts does his greatness consist, but in his observance 
 of their true form in relation to the whole ; that in con- 
 junction with close study, he possessed the keenest 
 powers of observation, and which ultimately led to his 
 attainment of the highest pitch of dramatic art, com- 
 bined with the most complete and accurate knowledge 
 of the true development of the law of humanity. 
 
 What prevailed in the critical world, was also to be 
 
96 SHAKSPEREAN ACTING. 
 
 found in the dramatic world of the same period. The 
 actors of this time but little understood Shakspere, nor 
 could they grapple with the might and grandeur of his 
 productions. Garrick, who, as an actor, has been most 
 unjustly elevated to the topmost height, was but a 
 mere muddler, when he sought to understand the aim 
 and intent of the Shaksperean drama, and however 
 powerful may have been his mimetic powers, he most 
 unmistakably failed to grapple with the force, breadth 
 and universality which marks the works of Shakspere. 
 He was one of the chief members of a school of tinker- 
 ing dramatists, who, wrapt up in their own pettiness of 
 vision, sought to add to the value and strength of the 
 great master's work by their own infantine conceptions. 
 In every instance of the so-called improvements which 
 Garrick effected, he not only marred the beauty and 
 meaning of the poet's lines, but he absolutely destroyed 
 the force and truth of his characterisation. Such a 
 course of procedure as this, arising as it did from a 
 lack of power to grasp the form and structure of the 
 Shaksperean drama, must serve, to a great extent, to 
 lower the estimation in which Garrick should be held as 
 an actor ; for if he failed to understand his author and 
 that he did fail there cannot be any question how was 
 it possible for him to form a true conception ; and if not 
 capable of forming a true conception, how could he 
 possibly pourtray in his attempts at representation, the 
 intention and aim of the dramatist. 
 
 That Garrick did not possess great poetic powers is 
 a fact that cannot be disputed : he was but a mere ver- 
 sifier, who sought to add beauty to that which was 
 already beautiful, and to give strength and sweetness 
 by the introduction of his own spurious ware. His 
 mode of representing Shakspere' s plays may have 
 
SHAKSPEREAN ACTING. 9? 
 
 fallen in with the notions of the play-goers of his time, 
 and with the class of critics who set themselves up as 
 Shaksperean commentators, none of whom, if they are 
 to be judged by their writings, understood the breadth 
 and greatness of the poet of humanity. The plays of 
 Shakspere which Garrick altered, produced and pub- 
 lished as his own versions, have, with but one ex- 
 ception, been banished from the stage, and that ex- 
 ception is " Katharine and Petruchio," one of the most 
 detestable of his alterations ; one, in which broad 
 buffoonery usurps the place of humour, and vulgar 
 comicalities and trickery pass current for the variety 
 of character so truthfully pourtrayed in Shakspere' s 
 "The Taming of the Shrew." The breadth and unction 
 of the introduction are entirely lost, and the remaining 
 characters are but mere scarecrows, without the life and 
 genius of the Shaksperean world. Garrick's alteration 
 of " The Winter's Tale " affords further evidence of his 
 want of power to understand the author he sought to 
 improve. In his version, the first three acts of Shak- 
 spere are nearly wholly left out, and the last two acts 
 are so intermixed with the rubbish of Garrick, that a 
 very singular mosaic is the result. Another proof of 
 the greatness of Garrick as a Shaksperean actor, and 
 his profound knowledge of the Shaksperean drama, is 
 shown in his version of the tragedy of Hamlet. In his 
 adaptation of this great work for the purposes of repre- 
 sentation, he altered many of the scenes and changed 
 the incidents and language ; he also omitted the 
 characters of the grave-diggers and the grave -digging 
 scene, because it was low and vulgar, a mere exposition 
 of common-place humanity, which interfered with his 
 notions of the gentility and grandeur of the tragedy, 
 thus displaying the littleness of his knowledge of human 
 
 N 
 
98 SHAKSPEREAN ACTING. 
 
 life and human character, and how incapable he was of 
 understanding the poet whom he sought to pourtray. 
 
 To do full justice to the many-sidedness which 
 characterizes some of Shakspere's creations, and more 
 especially that of Hamlet, requires an intellectual force 
 and power that Garrick never possessed. He had not 
 undergone that high mental training so necessary for 
 the cultivation of his perceptive and reflective faculties, 
 nor did he possess the requisite development of mental 
 power to fathom the profound depths of the philosophic 
 prince, and thus he could not have been great in his 
 representation of the character, because he could not be 
 true to the author's meaning. 
 
 The views and opinions held relative to this 
 tragedy, and, in fact, to the whole of Shakspere's works, 
 have undergone a complete change. But little mental 
 power in the early part of the last century was brought 
 to bear upon the poet's works, and what little there 
 was, was marred by the classic medium through 
 which these writers looked. The knowledge which we 
 now possess of Shakspere's works has been gradually 
 built up and developed by the critical writers of Ger- 
 many, and those of our own country. From the com- 
 mencement of the present century both English and 
 German critics have been actively engaged in seeking 
 to disseminate a more correct knowledge of the Shak- 
 sperean drama, yet most of the actors of this country 
 from that time have not readily availed themselves of 
 the advantages of such knowledge, nor have the great 
 body of the actors of the present day made themselves 
 conversant with the world of Shaksperean literature, in 
 which this knowledge of, and development of the poet's 
 meaning is to be found. How few actors have studied 
 the works of Lessing, Goethe, Schlegel and Gervinus, 
 
SHAKSPEREAN ACTING. 99 
 
 with a view to obtain a knowledge of Shakspere, and how 
 few have made a study of the criticisms of Coleridge, 
 one of the most profound critics upon Shakspere which 
 our country has produced. The numerous Shaksperean 
 works with which our literature now abounds, and whose 
 character and tone has been materially assisted by our 
 German brethren, have not yet had that deep perusal by 
 the members of the dramatic profession that their import- 
 ance demands, and until this is done, we shall fail to 
 see that true interpretation of the tragedy of Hamlet 
 which is so necessary to the success of the actor and the 
 play. The advantage of the study of these writers 
 upon Shakspere, by the actors, arises in the fact, that 
 the works which they have written prepare the actor 
 for the perception of the whole, as well as his own part. 
 They also add to the general knowledge of the intent of 
 the dramatist, and thus the actor would be enabled to 
 give a truer artistic interpretation, combined with a 
 higher degree of intelligence, and, therefore, approxi- 
 mate more closely to a perfect representation of the 
 poet's meaning. 
 
 The mind of Hamlet is essentially contemplative. 
 He is constantly engaged in thought, evolving from 
 within the nature and consequences of the deed he 
 wishes to perform. Hamlet, as it were, foresees the 
 result to himself and others if he takes action, and this 
 knowledge prevents him from acting. Thus he allows 
 opportunities to pass by, that would readily have been 
 seized upon by those possessed of less mental powers, 
 and would not like him have thought " too precisely 
 upon the event." Inactivity is thus produced by great 
 thinking, such being the result of a high intellectual 
 development. The greatness of Hamlet's intellectual 
 powers requires an almost corresponding degree of 
 
100 SHAKSPEREAN ACTING. 
 
 intellectual development in his representative; and 
 unfortunately this force of character is mostly found 
 wanting in those who seek to represent the Danish 
 prince. 
 
 The public who now read Shakspere and really 
 make themselves familiar with his lines, will no longer 
 tolerate the stilted style of acting of the past, nor the 
 constant running in the conventional groove of the 
 present. They want and require, apart from a special 
 knowledge of the stage, that breadth of intellect which 
 can comprehend and grapple with the subtlety and 
 grandeur of the poet's meaning, when companies seek to 
 represent such tragedies as Hamlet, and actors to per- 
 sonate such characters as the philosophic Prince of 
 Denmark. 
 
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