The Project Gutenberg eBook of The Works of William Shakespeare [Cambridge Edition] [Vol. 1 of 9] This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Works of William Shakespeare [Cambridge Edition] [Vol. 1 of 9] Author: William Shakespeare Editor: William George Clark Cambridge librarian of Trinity College John Glover Release date: October 26, 2007 [eBook #23041] Language: English Credits: Produced by Louise Hope, Jonathan Ingram and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) *** START OF THE PROJECT GUTENBERG EBOOK THE WORKS OF WILLIAM SHAKESPEARE [CAMBRIDGE EDITION] [VOL. 1 OF 9] *** Produced by Louise Hope, Jonathan Ingram and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) [Transcriber's Note: This e-text contains the introductory material (44 pages) and the publisher's advertising (16 pages) from Volume I of the nine-volume 1863 Cambridge edition of Shakespeare. The five plays from this volume, with their notes, will each be produced as a free-standing e-text. Numerals written as subscripts are shown inline as F1, F2, Q1.... Except for footnotes and illustrations, all brackets are in the original. In the publisher's advertising, the page breaks have been retained and are shown as a double row of asterisks.] _THE WORKS_ of WILLIAM SHAKESPEARE. [Illustration (Publisher's Device)] THE WORKS of WILLIAM SHAKESPEARE Edited by WILLIAM GEORGE CLARK, M.A. Fellow and Tutor of Trinity College, and Public Orator in the University of Cambridge; and JOHN GLOVER, M.A. Librarian Of Trinity College, Cambridge. _VOLUME I._ Cambridge and London: MACMILLAN AND CO. 1863. Cambridge: Printed by C. J. Clay, M.A. at the University Press. To His Grace THE DUKE OF DEVONSHIRE, K.G. Chancellor Of The University Of Cambridge. THIS EDITION of _THE WORKS OF SHAKESPEARE_ Is Respectfully Dedicated by THE EDITORS. CONTENTS. [The e-text numbers for the plays from this edition are shown in brackets.] PAGE The Preface ix THE TEMPEST [23042] 3 Notes to the Tempest 77 THE TWO GENTLEMEN OF VERONA [23043] 83 Notes to the Two Gentlemen of Verona 157 Introduction to the Merry Wives of Windsor 163 THE MERRY WIVES OF WINDSOR [23044] 165 Notes to the Merry Wives of Windsor 253 A Pleasant Conceited Comedy of Syr John Falstaffe, &c. 257 MEASURE FOR MEASURE [23045] 295 Notes to Measure for Measure 391 THE COMEDY OF ERRORS [23046] 399 Notes to the Comedy of Errors 462 PREFACE. The main rules which we proposed to ourselves in undertaking this Edition are as follows: 1. To base the text on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, and of subsequent editions and commentaries. 2. To give all the results of this collation in notes at the foot of the page, and to add to these conjectural emendations collected and suggested by ourselves, or furnished to us by our correspondents, so as to give the reader in a compact form a complete view of the existing materials out of which the text has been constructed, or may be emended. 3. In all plays of which there is a Quarto edition differing from the received text to such a degree that the variations cannot be shown in foot-notes, to print the text of the Quarto _literatim_ in a smaller type after the received text. 4. To number the lines in each scene separately, so as to facilitate reference. 5. To add at the end of each play a few notes, (_a_) to explain such variations in the text of former editions as could not be intelligibly expressed in the limits of a foot-note, (_b_) to justify any deviation from our ordinary rule either in the text or the foot-notes, and (_c_) to illustrate some passage of unusual difficulty or interest. 6. To print the Poems, edited on a similar plan, at the end of the Dramatic Works. An edition of Shakespeare on this plan has been for several years in contemplation, and has been the subject of much discussion. That such an edition was wanted seemed to be generally allowed, and it was thought that Cambridge afforded facilities for the execution of the task such as few other places could boast of. The Shakespearian collection given by Capell to the Library of Trinity College supplied a mass of material almost unrivalled in amount and value, and in some points unique; and there, too, might be found opportunities for combined literary labour, without which the work could not be executed at all. At least, if undertaken by one person only, many years of unremitting diligence would be required for its completion. The first step towards the realization of the project was taken in the spring of 1860, when the first act of _Richard the Second_ was printed by way of specimen, with a preface signed 'W. G. Clark' and 'H. R. Luard,'[1] where the principles, on which the proposed Edition should be based, were set forth with the view 'of obtaining opinions as to the feasibility of the plan, and suggestions as to its improvement.' All the persons who answered this appeal expressed their warm approval of the general plan, and many favoured us with suggestions as to details, which we have either adopted, or at least not rejected without careful and respectful consideration. Since our work was commenced, we have learned that the need of such an Edition has presented itself, independently, to the minds of many literary men, and that a similar undertaking was recommended as long ago as 1852, by Mr Bolton Corney, in _Notes and Queries_, Vol. VI. pp. 2, 3; and again by a correspondent of the same journal who signs himself 'Este,' Vol. VIII. p. 362. This concurrence of opinion leads us to hope that our Edition will be found to supply a real want, while, at the same time, the novelty of its plan will exempt us from all suspicion of a design to supersede, or even compete with, the many able and learned Editors who have preceded us in the same field. We will first proceed to explain the principles upon which we have prepared our text. A. _With respect to the Readings._ The basis of all texts of Shakespeare must be that of the earliest Edition of the collected plays, the Folio of 1623, which, for more easy reference, we have designated F1[2]. This we have mainly adopted, unless there exists an earlier edition in quarto, as is the case in more than one half of the thirty-six plays. When the first Folio is corrupt, we have allowed some authority to the emendations of F2 above subsequent conjecture, and secondarily to F3 and F4; but a reference to our notes will show that the authority even of F2 in correcting is very small. Where we have Quartos of authority, their variations from F1 have been generally accepted, except where they are manifest errors, and where the text of the entire passage seems to be of an inferior recension to that of the Folio. To show that the later Folios only corrected the first by conjecture, we may instance two lines in _Midsummer Night's Dream_: Give me your neif, Mounsieur Mustard Seed. IV. 1. 'Neif,' which is spelt 'niefe' in Qq F1, becomes 'newfe' in F2, 'newse' and 'news' in F3 F4. And finds his trusty Thisby's mantle slain. V. 1. F1 omits 'trusty.' F2 makes up the line by inserting 'gentle.' Where the Folios are all obviously wrong, and the Quartos also fail us, we have introduced into the text several conjectural emendations; especially we have often had recourse to Theobald's ingenuity. But it must be confessed that a study of errors detracts very much from the apparent certainty of conjectures, the causelessness of the blunders warning us off the hope of restoring, by general principles or by discovery of causes of error. For example: in the _Midsummer Night's Dream_, I. 1, Or else it stood upon the choice of merit, the reading of the Folios, is certainly wrong; but if we compare the true reading preserved in the Quartos, 'the choice of friends,' we can perceive no way to account for the change of 'friends' to 'merit,' by which we might have retraced the error from 'merit' to 'friends.' Nothing like the 'ductus literarum,' or attraction of the eye to a neighbouring word, can be alleged here. Hence though we have admitted conjectures sometimes, we have not done so as often as perhaps will be expected. For, in the first place, we admit none because we think it better rhythm or grammar or sense, unless we feel sure that the reading of the Folio is altogether impossible. In the second place, the conjecture must appear to us to be the only probable one. If the defect can be made good in more ways than one equally plausible, or, at least, equally possible, we have registered but not adopted these improvements, and the reader is intended to make his own selection out of the notes. For example, in the _Merry Wives of Windsor_, II. 3. 80, we have assumed Mr Dyce's conjecture, 'Cried I aim?' to be the only satisfactory reading of a passage decidedly wrong; but in the same play, IV. 1. 63, 'Woman, art thou lunaties?' as the error may equally possibly be evaded by reading 'lunacies' with Rowe, and 'lunatics' with Capell, we have retained the error. The well-known canon of criticism, that of two readings 'ceteris paribus' the more difficult is to be preferred, is not always to be applied in comparing the readings of the Folios. For very frequently an anomaly which would have been plausible on account of its apparent archaism proves to be more archaic than Shakespeare, if the earlier Quartos give the language of Shakespeare with more correctness. Ex. _Midsummer Night's Dream_, III. 2: 'Scorn and derision never come in tears' Qq; 'comes' Ff; and in the same play, IV. 1: 'O how mine eyes do loath' Q1, altered to 'doth loath' in Q2 F1, and restored, evidently by a grammatical reviser, to 'do loath' in F2 F3 F4. Again, I. 1: 'what all but he do know,' Qq, is altered to 'doth know' in Ff. This last error points to a very common anomaly in grammar; one which seems almost to have become a rule, or, at any rate, a license in Shakespeare's own time, that a verb shall agree in number with the nominative intervening between the true governing noun and the verb. B. _Grammar._ In general, we do not alter any passage merely because the grammar is faulty, unless we are convinced that the fault of grammar was due to the printer altogether, and not to Shakespeare. We look upon it as no part of our task to improve the poet's grammar or correct his oversights: even errors, such as those referred to in note (VII) to the _Two Gentlemen of Verona_, and notes (I) and (X) to the _Merry Wives of Windsor_, because we thought them to be Shakespeare's own blunders, have been allowed to stand. But many phrases that are called bad grammar by us, and rightly so called, were sanctioned by usage among the contemporaries of Shakespeare, especially, no doubt, by the usage of conversation, even among educated persons. And as a learned correspondent (Dr B. Nicholson) remarks, this would naturally be the style of English which Shakespeare would purposely use in dramatic dialogue. As examples of the anomalies of grammar sanctioned by Elizabethan usage we may mention:-- Singular verbs, with plural nouns, especially when the verb precedes its nominative: Hath all his ventures failed? What; not one hit? _Merchant of Venice_, III. 2. Nominatives for accusatives: She should this Angelo have married. _Measure for Measure_, III. 1. 204. And repeatedly 'who' for 'whom.' Omission of prepositions: Most ignorant of what he's most assured. _Ibid._ II. 2. 119. ------ which now you censure him. _Ibid._ II. 1. 15. The changes of accidence are less frequent than those of syntax, yet such occur. In the Folios verbs ending in _d_ and _t_ are constantly found making their second persons singular in _ds_ and _ts_ instead of _d'st_ and _t'st_. This was a corruption coming into vogue about the time of their publication, and in the earlier Quartos we frequently find the correct form; for example, in _Midsummer Night's Dream_, V. 1: 'standst' in Q1 is corrupted to 'stands' in Q2 and in Ff. We have therefore confidently replaced the correct form for the incorrect, even without authority to back us; looking upon the variation as a corrupt abbreviation of spelling. But, in general, our practice has been not to alter the text, in order to make the grammar conform to the fixed rules of modern English. A wide latitude of speech was allowed in Shakespeare's age both as to spelling and grammar. C. _Orthography._ It was not without much consideration that we determined to adopt the spelling of the nineteenth century. If we had any evidence as to Shakespeare's own spelling, we should have been strongly inclined to adopt it, but to attempt to reproduce it, by operating by rule upon the texts that have come down to us, would be subjecting Shakespeare's English to arbitrary laws, of which it never yet was conscious. This argues no want of education on the part of Shakespeare; for if Lord Bacon himself had rules for spelling, they were but few, as we may easily perceive by inspection of his works published under his own eye. But if we have not Shakespeare's own spelling to guide us, what other spelling shall we adopt? Every student of Shakespeare has now an easy opportunity of acquainting himself with the text of F1, by means of Mr Booth's excellent reprint, and we are certain that not one of them will consider the spelling of that volume intrinsically better than that of our day. Rather more like Shakespeare's it certainly is, but we doubt whether much is gained by such approximation, as long as it is short of perfect attainment. Moreover, in many of the Plays there is a competing claim to guide our spelling, put forward by an array of Quartos, of earlier date than F1. To desert F1 for these, where they exist, would be but an occasional, and at best an uncertain means of attaining the lost spelling of Shakespeare, while the spelling of our volume would become even more inconsistent than that of F1 itself. Add to this; there are places, though, as has been seen, not many, where we have had to leave the reading of F1 altogether. How then shall we spell the correction which we substitute? D. _Metre._ Corrections of metre are avoided even more carefully than those of grammar. For the rules of prosody have undergone perhaps greater change than those of grammar. There is no doubt that a system of versification has taken root among us very different from that which was in use in the earlier days of our poetry. The influence of classical prosody has worked in a manner that could hardly have been expected. Quantity in the sense in which the Greeks and Romans understood it, is altogether foreign to our speech; and our poets, willing to imitate the verse regulated by laws of quantity, have partially adopted those laws, substituting for long syllables those that bear a stress of accent or emphasis. In Greek and Latin accent was essentially distinct from quantity, and verse was regulated entirely by the latter. In the modern imitation of classical metres, for want of appreciation of quantity, we go entirely by accent or emphasis, and make precisely such verses as classical taste eschewed. Thus we have learned to scan lines by iambuses, or rather by their accentual imitations, and a perfect line would consist of ten syllables, of which the alternate ones bore a rhythmical stress. These iambuses may, under certain restrictions, be changed for 'trochees,' and out of these two 'feet,' or their representatives, a metre, certainly very beautiful, has grown up gradually, which attained perhaps its greatest perfection in the verse of Pope. But the poets of this metre, like renaissance architects, lost all perception of the laws of the original artists, and set themselves, whenever it was possible, to convert the original verses into such as their own system would have produced. We see the beginnings of this practice even in the first Folio, when there exist Quartos to exhibit it. In each successive Folio the process has been continued. Rowe's few changes of F4 are almost all in the same direction, and the work may be said to have been completed by Hanmer. It is to be feared that a result of two centuries of such a practice has been to bring about an idea of Shakespearian versification very different from Shakespeare's. But we feel a hope that the number of Shakespeare's students who can appreciate the true nature of the English versification in our elder poets is increasing, and will increase more as the opportunity is furnished them of studying Shakespeare himself. Of course we do not mean to give here an essay on Shakespearian versification. Those who would study it may best be referred to Capell, in spite of the erroneous taste of his day, to Sidney Walker, and especially, if they are earnest students, to Dr Guest's _History of English Rhythms_. We will only state some of the differences between Shakespearian versification and that which has now become our normal prosody; namely, such as have excited an ambition of correcting in later editors. There is a large number of verses which a modern ear pronounces to want their first unaccented syllable. The following we quote as they appear in F1, in the opening of the _Two Gentlemen of Verona_: No, I will not, for it boots thee not. I. 1. 28. Fire that's closest kept burns most of all. I. 2. 30. Is't near dinner-time? I would it were. I. 2. 67. These lines are all corrected by editors; and it is evident that there would be little trouble in altering all such lines wherever they occur: or they may be explained away, as for instance in the second cited, 'fire' doubtless is sometimes pronounced as a dissyllable. Yet to attempt correction or explanation wherever such lines occur would be ill-spent labour. A very impressive line in the _Tempest_ is similarly scanned: Twelve year since, Miranda, twelve year since. I. 2. 53. Where we are rightly told that 'year' may be a dissyllable. Yet that one word should bear two pronunciations in one line is far more improbable than that the unaccented syllable before 'twelve' is purposely omitted by the poet; and few readers will not acknowledge the solemn effect of such a verse. As another example with a contrary effect, of impulsive abruptness, we may take a line in _Measure for Measure_: Quick, dispatch, and send the head to Angelo. IV. 3. 88. This last example is also an instance of another practice, by modern judgement a license, viz. making a line end with two unaccented 'extrametrical' syllables. Two very effective lines together, commencing similarly to the last, are in the same Play: Take him hence; to the rack with him! We'll touse you Joint by joint, but we will know his purpose. V. 1. 309, 310. Another irregularity is a single strong syllable commencing a line complete without it. This might often be printed in a line by itself. For example: Ay, And we're betrothed: nay more, our marriage-hour-- _Two Gentlemen of Verona_, II. 4, 175. Another irregularity is the insertion of syllables in the middle of lines. The dramatic verse is doubtless descended from the Old English decasyllables of Chaucer, and that his verse was divided actually into two sections is evinced by the punctuation of some MSS. The _licenses_ accorded to the beginnings and endings of the whole verse were also allowed, with some modification, to the end and beginnings of these _sections_, and accordingly, in early poetry, many verses will appear to a modern reader to have a syllable too many or too few in the part where his ear teaches him to place a cæsura. Exactly similarly, but more sparingly, syllables are omitted or inserted at the central pause of Shakespeare's verse, especially when this pause is not merely metrical, but is in the place of a stop of greater or less duration; and most freely when the line in question is broken by the dialogue. The following examples of a superfluous syllable at the middle pause are taken out of the beginning of the _Tempest_: Obey, and be attentive. Canst thou remember? I. 2. 38. But blessedly help hither. O, my heart bleeds. I. 2. 63. Without a parallel; those being all my study. I. 2. 74. With all prerogative:--hence his ambition growing. I. 2. 105. The extra syllables may be at the commencement of the second section: He was indeed the Duke; out o' the substitution. I. 2. 103. And the following are defective of a syllable: Dashes the fire out. O, I have suffered. I. 2. 5. Make the prize light. One word more; I charge thee. I. 2. 452. To these 'licenses' we may add verses sometimes with one and sometimes with two additional feet, and many half verses, and some a foot too short. When these inequalities are allowed, the reader will perceive much simpler and more general methods of scanning some lines supposed to be unmetrical than the Procrustean means adopted by Sidney Walker for reducing or multiplying the number of syllables in words. E. _Punctuation._ We have now to state our practice of punctuation. The Folio and other editions, starting with very different principles from those that guide the punctuation of this day, have acted on those principles with exceeding incorrectness. Questions are marked and unnoticed almost at random; stops are inserted in the ends of lines fatal to the sense. In fact, in many places, we may almost say that a complete want of points would mislead us less than the punctuation of the Folios. The consequence is, that our punctuation is very little dependent upon the Folios and Quartos, but generally follows the practice which has taken possession of the text of Shakespeare, under the arrangement of the best editors, from Pope to Dyce and Staunton. Only for an obvious improvement have we altered the punctuation on our own judgement, and in most cases the alteration is recorded in the notes. One thing remains to be said in reference to our text. It is well known, that in James the First's reign, a statute was passed for exscinding profane expressions from plays. In obedience to this many passages in the Folios have been altered with an over-scrupulous care. When we have seen the metre, or, as is sometimes the case, even the sense marred by these changes, and the original contains no offensive profanity, we have recalled Shakespeare's words. Our object in the foot-notes has been (1) to state the authority upon which a received reading rests, (2) to give all different readings adopted into the text by other editors, and (3) to give all emendations suggested by commentators. When no authority is mentioned for the reading of the text, it must be understood that all the Folios agree in it, as well as all editors previous to the one mentioned, as authority for an alteration. Thus, in the _Comedy of Errors_, III. 1. 71, '_cake here_] _cake_ Capell' indicates that 'cake here' is the reading of the four Folios, of Rowe, Pope, Theobald Hanmer, Warburton, and Johnson. Mere differences of spelling are not noticed, except (1) in corrupt or disputed passages, where the 'ductus literarum' is important as a help towards the determination of the true text, and (2) when the variation is interesting etymologically or characteristic of a particular edition. In the same way, differences of punctuation are recorded only when they make a difference in the sense, or when they may serve as a guide to the restoration of some corrupt, or the explanation of some difficult, passage. Misprints also are passed over as a general rule. We have noticed them occasionally, when they appeared to be remarkable as indicating the amount of error of which the old printers were capable. We have endeavoured faithfully to record any variation of reading, however minute (except, as before said, mere differences of spelling or punctuation), adopted by any editor, and to give that editor's name. Sometimes, however, we have passed over in silence merely arbitrary rearrangements of the metre made in passages where no change was required and no improvement effected. In recording conjectures, we have excepted only (1) those which were so near some other reading previously adopted or suggested, as to be undeserving of separate record, and (2) a few (of Becket, Jackson, and others) which were palpably erroneous. Even of these we have given a sufficient number to serve as samples. We will now proceed to explain the notation employed in the foot-notes, which, in some cases, the necessity of compressing may have rendered obscure. The four Folios are designated respectively by the letters F1, F2, F3, and F4, and the quarto editions of separate plays, in each case, by the letters Q1, Q2, Q3, &c. When one or more of the Quartos differ so widely from the Folios that a complete collation is impossible, the letters which designate them are put between brackets, for the sake of keeping this difference before the mind of the reader. Thus, in the _Merry Wives of Windsor_, the two earliest Quartos differ widely from the Folios, while the third Quarto (1630) is printed from the first Folio. Hence, they are designated thus: I. 4. 20, _Cain_] F3 F4. _Kane_ (Q1 Q2). _Caine_ F1 Q3 F2. When no authority is given for the reading in the text, it is to be understood that it is derived from such of the Folios as are not subsequently mentioned. Thus, in the _Comedy of Errors_, II. 2. 203, _the eye_] _thy eye_ F2 F3 indicates that F1 and F4 agree in reading 'the eye.' In the same scene, line 191, the note '_or_] _and_ Theobald' means, that the four Folios, followed by Rowe and Pope, agree in reading 'or.' When the difference between the reading adopted and that given in one or more of the Folios is a mere difference of spelling, it has not been thought worth while to record the name of the first editor who modernized it: for instance, in the _Two Gentlemen of Verona_, II. 6. 35, the note is: _counsel_] _counsaile_ F1 F2. _councel_ F3. _council_ F4. We have given at full the name of the editor who first introduced a particular reading, without recording which of his successors adopted it. Thus, in _Measure for Measure_, III. 1. 138, 'grant' for 'shield' is read by Pope, Theobald, Hanmer, Warburton, and others, but the first only is mentioned: '_shield_] F1. _shield:_ F2 F3 F4. _grant_ Pope.' The conjectures made by annotators or by editors, but not introduced by them into the text, are distinguished by the addition of 'conj.,' as 'Farmer conj.,' 'Johnson conj.' &c. 'Steevens (Farmer conj.)' indicates that the reading in question was first suggested by Farmer, and first introduced into the text by Steevens. If, however, the person who first made the conjecture, afterwards became an editor, and gave it in his own text, while, in the mean time, it had been adopted by some other editor, the 'conj.' is omitted. Thus, for example, 'Theobald (Warburton)' shows that Warburton was the first to propose such and such a change, that Theobald first incorporated it in the text, and that Warburton afterwards gave it in the text of his own edition. We have designated the readings derived from Mr Collier's corrected copy of the second folio thus: 'Collier MS.' not 'Collier MS. conj.,' as in this case we could consult brevity without danger of misleading any one. We have arranged the names both of Editors and of Commentators (as far as was possible) in order of time. It has frequently happened that several persons have hit on the same conjecture independently. In such cases we have assigned it to the earliest, determining the priority by the date of publication. The metrical arrangement of each passage is marked in the notes by printing each word which commences a line with an initial capital letter. In the Folios, many substantives, other than proper names or titles, are printed with initial capitals; but, in order to avoid ambiguity, we have generally made our quotations conform, in this respect, to the modern usage. We had originally intended to give in our Preface a catalogue raisonné of all the editions of our author and other books used by us in the preparation of the present work, but this labour has been fortunately spared us by Mr Bohn's reissue of Lowndes's _Bibliographer's Manual_, the eighth part of which contains a full and accurate account of Shakespearian literature. To that work we refer our readers for more complete bibliographical details, and propose to confine ourselves to some remarks on the critical value of the principal editions and commentaries. We have, of course, confined our collation to those editions which seemed to possess an independent value of their own. Mr Bohn enumerates two hundred and sixty-two different editions of Shakespeare. It was therefore a matter of necessity to make a selection. In the following remarks we pass briefly in review the editions which we have habitually consulted. Whenever any commentary was known to us to exist in a separate form, we have always, if possible, procured it. In some few instances, we have been obliged to take the references at second-hand. The first Folio (F1), 1623, contains all the plays usually found in modern editions of Shakespeare, except _Pericles_. It was 'published according to the True Originall Copies,' and 'set forth' by his 'friends' and 'fellows,' John Heminge and Henry Condell, the author 'not having the fate common with some to be exequutor to his own writings.' In an address 'To the great variety of Readers' following the dedication to the Earls of Pembroke and Montgomery, the following passage occurs: 'It had bene a thing, we confesse, worthie to have bene wished, that the Author himselfe had liv'd to have set forth, and overseen his owne writings; But since it hath bin ordain'd otherwise, and he by death departed from that right, we pray you do not envie his Friends, the office of their care, and paine, to have collected & publish'd them; and so to have publish'd them, as where (before) you were abus'd with diverse stolne and surreptitious copies, maimed, and deformed by the frauds and stealthes of injurious impostors, that expos'd them: even those are now offer'd to your view cur'd, and perfect of their limbes; and all the rest, absolute in their numbers, as he conceived them. Who, as he was a happie imitator of Nature, was a most gentle expresser of it. His mind and hand went together: And what he thought, he uttered with that easinesse, that wee have scarse received from him a blot in his papers.' The natural inference to be drawn from this statement is, that all the separate editions of Shakespeare's plays were 'stolen,' 'surreptitious,' and 'imperfect,' and that all those published in the Folio were printed from the author's own manuscripts. But it can be proved to demonstration that several of the plays in the Folio were printed from earlier Quarto editions, and that in other cases the Quarto is more correctly printed or from a better MS. than the Folio text, and therefore of higher authority. For example, in _Midsummer Night's Dream_, in _Love's Labour's Lost_, and in _Richard the Second_, the reading of the Quarto is almost always preferable to that of the Folio, and in _Hamlet_ we have computed that the Folio, when it differs from the Quartos, differs for the worse in forty-seven places, while it differs for the better in twenty at most. As the 'setters forth' are thus convicted of a 'suggestio falsi' in one point, it is not improbable that they may have been guilty of the like in another. Some of the plays may have been printed not from Shakespeare's own manuscript, but from transcripts made from them for the use of the theatre. And this hypothesis will account for strange errors found in some of the plays--errors too gross to be accounted for by the negligence of a printer, especially if the original MS. was as unblotted as Heminge and Condell describe it to have been. Thus too we may explain the great difference in the state of the text as found in different plays. It is probable that this deception arose not from deliberate design on the part of Heminge and Condell,--whom as having been Shakespeare's friends and fellows we like to think of as honourable men,--but partly at least from want of practice in composition, and from the wish rather to write a smart preface in praise of the book than to state the facts clearly and simply. Or the preface may have been written by some literary man in the employment of the publishers, and merely signed by the two players. Be this as it may, their duties as editors were probably limited to correcting and arranging the manuscripts and sending them to the press. The 'overseeing' of which they speak, probably meant a revision of the MSS., not a correction of the press, for it does not appear that there were any proof sheets in those days sent either to author or editor. Indeed we consider it as certain that, after a MS. had been sent to press, it was seen only by the printers and one or more correctors of the press, regularly employed by the publishers for that purpose[3]. The opinions of critics have varied very much as to the merits of the first Folio, some praising it as among the most correct, and others blaming it as one of the most incorrect editions of its time. The truth seems to be that it is of very varied excellence, differing from time to time according to the state of the MS. from which it was printed, the skill of the compositor, and the diligence of the corrector. There is the widest difference, for instance, between the text of the _Two Gentlemen of Verona_ and that of _All's well that ends well_. As is the case with most books of that time[4], different copies of the first Folio are found to vary here and there; generally, however, in a single letter only. It is probable that no one copy exactly corresponds with any other copy. We have indicated these variations, wherever they were known to us, in a note either at the foot of the page or at the end of each play. A reprint of the first Folio, not free from inaccuracies, was published in 1807. A second reprint is now in course of publication by Mr Lionel Booth. The first part, containing the Comedies, has already appeared. It is probably the most correct reprint ever issued. The second Folio (F2) is a reprint of the first, preserving the same pagination. It differs, however, from the first in many passages, sometimes widely, sometimes slightly, sometimes by accident, sometimes by design. The emendations are evidently conjectural, and though occasionally right, appear more frequently to be wrong. They deserve no more respect than those of other guessers, except such as is due to their author's familiar acquaintance with the language and customs of Shakespeare's day, and possible knowledge of the acted plays. Capell's copy of the second Folio has been of great use to us in our collations. He has annotated the margin with a multitude of marks in red ink,--conventional symbols indicating where and how it differs from the first. We have hardly in a single instance found his accuracy at fault. The third Folio (F3) was first published in 1663, and reissued in the following year with a new title-page[5], and with seven additional plays, viz.: _Pericles, Prince of Tyre_: _The London Prodigal_: _The History of the Life and Death of Thomas Lord Cromwell_: _The History of Sir John Oldcastle, the good Lord Cobham_: _The Puritan Widow_: _A Yorkshire Tragedy_: and _The Tragedy of Locrine_. With regard to the plays which it contains in common with the former Folios, it is on the whole a tolerably faithful reprint of the second, correcting, however, some obvious errors, making now and then an uncalled-for alteration, and occasionally modernizing the spelling of a word. The printer of course has committed some errors of his own. The fourth Folio (F4) was printed from the third, but with a different pagination, in 1685. The spelling is very much modernized, but we have not been able to detect any other evidence of editorial care. The first octavo edition was that of Nicholas Rowe, published in 1709, dedicated to the Duke of Somerset, in words which we take pleasure in recording: ''Tis the best security a poet can ask for to be sheltered under that great name which presides over one of the most famous Universities of Europe.' It contained all the plays in the fourth Folio in the same order, except that the seven spurious plays were transferred from the beginning to the end. The poems were added also. It is evident that Rowe took the fourth Folio as the text from which his edition was printed, and it is almost certain that he did not take the trouble to refer to, much less to collate, any of the previous Folios or Quartos. It seems, however, while the volume containing _Romeo and Juliet_ was in the press he learned the existence of a Quarto edition, for he has printed the prologue given in the Quartos and omitted in the Folios, at the end of the play. He did not take the trouble to compare the text of the Quarto with that of F4. When any emendation introduced by him in the text coincides with the reading of F1, as sometimes happens, we are convinced that it is an accidental coincidence. Being, however, a man of natural ability and taste he improved the text by some happy guesses, while, from overhaste and negligence, he left it still deformed by many palpable errors. The best part of the work is that with which his experience of the stage as a dramatic poet had made him familiar. In many cases he first prefixed to the play a list of dramatis personæ, he supplied the defects of the Folios in the division and numbering of Acts and Scenes, and in the entrances and exits of characters. He also corrected and further modernized the spelling, the punctuation, and the grammar. A characteristic specimen of blunders and corrections occurs in the _Comedy of Errors_, V. 1. 138. _important_] F1 _impoteant_ F2. _impotent_ F3 F4. _all-potent_ Rowe. A second Edition, 9 Volumes 12mo, was published in 1714. Pope's edition in six volumes, 4to, was completed in 1715. On the title-page we read, 'The Works of Shakespeare, in six volumes.' The six volumes, however, included only the plays contained in the first and second Folios. The poems, with an _Essay on the Rise and Progress of the Stage_, and a Glossary, were contained in a seventh volume edited by Dr Sewell. Pope, unlike his predecessor, had at least seen the first Folio and some of the Quartos of separate plays, and from the following passage of his preface it might have been inferred that he had diligently collated them all: 'This is the state in which Shakespeare's writings be at present; for since the above-mentioned folio edition [_i.e._ F4], all the rest have implicitly followed it without having recourse to any of the former, or ever making the comparison between them. It is impossible to repair the injuries already done him; too much time has elaps'd, and the materials are too few. In what I have done I have rather given a proof of my willingness and desire, than of my ability, to do him justice. I have discharg'd the dull duty of an editor, to my best judgment, with more labour than I expect thanks, with a religious abhorrence of all innovation, and without any indulgence to my private sense or conjecture. The method taken in this edition will show itself. The various readings are fairly put in the margin, so that every one may compare 'em, and those I prefer'd into the text are constantly _ex fide codicum_, upon authority.' This passage, as any one may see who examines the text, is much more like a description of what the editor did _not_ do than of what he did. Although in many instances he restored, from some Quarto, passages which had been omitted in the Folio, it is very rarely indeed that we find any evidence of his having collated either the first Folio or any Quarto, with proper care. The 'innovations' which he made, according to his own 'private sense and conjecture,' are extremely numerous. Not one in twenty of the various readings is put in the margin, and the readings in his text very frequently rest upon no authority whatever. The glaring inconsistency between the promise in the preface and the performance in the book may well account for its failure with the public. It would, however, be ungrateful not to acknowledge that Pope's emendations are always ingenious and plausible, and sometimes unquestionably true. He never seems to nod over that 'dull labour' of which he complains. His acuteness of perception is never at fault. What is said of him in the preface to Theobald's edition is, in this point, very unjust[6]. 'They have both (_i.e._ Pope and Rymer[7]) shown themselves in an equal _impuissance_ of suspecting or amending the corrupted passages, &c.' Pope was the first to indicate the _place_ of each new scene; as, for instance, _Tempest_, I. 1. 'On a ship at sea.' He also subdivided the scenes as given by the Folios and Rowe, making a fresh scene whenever a new character entered--an arrangement followed by Hanmer, Warburton, and Johnson. For convenience of reference to these editions, we have always recorded the commencement of Pope's scenes. By a minute comparison of the two texts we find that Pope printed his edition from Rowe, not from any of the Folios. A second edition, 10 volumes, 12mo, was published in 1728, 'by Mr Pope and Dr Sewell.' In this edition, after Pope's preface, reprinted, comes: 'A table of the several editions of Shakespeare's plays, made use of and compared in this impression.' Then follows a list containing the first and second Folios, and twenty-eight Quarto editions of separate plays. It does not, however, appear that even the first Folio was compared with any care, for the changes made in this second edition are very few. Lewis Theobald had the misfortune to incur the enmity of one who was both the most popular poet, and, if not the first, at least the second, satirist of his time. The main cause of offence was Theobald's _Shakespeare Restored, or a Specimen of the many Errors committed as well as unamended by Mr Pope in his late edition of this Poet_, 1726. Theobald was also in the habit of communicating notes on passages of Shakespeare to _Mist's Journal_, a weekly Tory paper. Hence he was made the hero of the _Dunciad_ till dethroned in the fourth edition to make way for Cibber; hence, too, the allusions in that poem: 'There hapless Shakespear, yet of Theobald sore, Wish'd he had blotted for himself before;' and, in the earlier editions, 'Here studious I unlucky moderns save, Nor sleeps one error in its father's grave; Old puns restore, lost blunders nicely seek, And crucify poor Shakespear once a week.' Pope's editors and commentators, adopting their author's quarrel, have spoken of Theobald as 'Tibbald, a cold, plodding, and tasteless writer and critic.' These are Warton's words. A more unjust sentence was never penned. Theobald, as an Editor, is incomparably superior to his predecessors, and to his immediate successor, Warburton, although the latter had the advantage of working on his materials. He was the first to recal a multitude of readings of the first Folio unquestionably right, but unnoticed by previous editors. Many most brilliant emendations, such as could not have suggested themselves to a mere 'cold, plodding, and tasteless critic,' are due to him. If he sometimes erred--'humanum est.' It is remarkable that with all his minute diligence[8], (which even his enemies conceded to him, or rather of which they accused him) he left a goodly number of genuine readings from the first Folio to be gleaned by the still more minutely diligent Capell. It is to be regretted that he gave up numbering the scenes, which makes his edition difficult to refer to. It was first published in 1733, in seven volumes, 8vo. A second, 8 volumes, 12mo, appeared in 1740. In 1744, a new edition of Shakespeare's Works, in six volumes, 4to, was published at Oxford. It appeared with a kind of sanction from the University, as it was printed at the Theatre, with the Imprimatur of the Vice-Chancellor, and had no publisher's name on the title-page. The Editor is not named--hence he is frequently referred to by subsequent critics as 'the Oxford Editor';--but as he was well known to be Sir Thomas Hanmer, we have always referred to the book under his name. We read in the preface: 'What the Publick is here to expect is a true and correct Edition of Shakespear's Works, cleared from the corruptions with which they have hitherto abounded. One of the great admirers of this incomparable author hath made it the amusement of his leisure hours for many years past to look over his writings with a careful eye, to note the obscurities and absurdities introduced into the text, and according to the best of his judgment to restore the genuine sense and purity of it. In this he proposed nothing to himself but his private satisfaction in making his own copy as perfect as he could; but as the emendations multiplied upon his hands, other Gentlemen equally fond of the Author, desired to see them, and some were so kind as to give their assistance by communicating their observations and conjectures upon difficult passages which had occurred to them.' From this passage the character of the edition may be inferred. A country gentleman of great ingenuity and lively fancy, but with no knowledge of older literature, no taste for research, and no ear for the rhythm of earlier English verse, amused his leisure hours by scribbling down his own and his friends' guesses in Pope's Shakespeare, and with this _apparatus criticus_, if we may believe Warburton, 'when that illustrious body, the University of Oxford, in their public capacity, undertook an edition of Shakespeare by subscription,' Sir T. Hanmer 'thrust himself into the employment.' Whether from the sanction thus given, or from its typographical beauty, or from the plausibility of its new readings, this edition continued in favour, and even 'rose to the price of 10_l._ 10_s._ before it was reprinted in 1770-1, while Pope's, in quarto, at the same period sold off at Tonson's sale for 16_s._ per copy.' Bohn, p. 2260. In 1747, three years after Pope's death, another edition of Shakespeare based upon his appeared, edited by Mr Warburton. On the title-page are these words: 'The Genuine Text (collated with all the former Editions, and then corrected and emended) is here settled: Being restored from the _Blunders_ of the first Editors, and the _Interpolations_ of the two Last: with a Comment and Notes, Critical and Explanatory. By Mr Pope and Mr Warburton[9].' The latter, in his preface, vehemently attacks Theobald and Hanmer, accusing both of plagiarism and even fraud. 'The one was recommended to me as a poor Man, the other as a poor Critic: and to each of them, at different times, I communicated a great number of Observations, which they managed as they saw fit to the Relief of their several distresses. As to Mr _Theobald_, who wanted Money, I allowed him to print what I gave him for his own Advantage: and he allowed himself in the Liberty of taking one Part for his own, and sequestering another for the Benefit, as I supposed, of some future Edition. But as to the _Oxford Editor_, who wanted nothing, but what he might very well be without, the reputation of a Critic, I could not so easily forgive him for trafficking in my Papers without my knowledge; and when that Project fail'd, for employing a number of my Conjectures in his Edition against my express Desire not to have that Honour done unto me.' Again he says of Hanmer: 'Having a number of my Conjectures before him, he took as many as he saw fit to work upon, and by changing them to something, he thought, synonimous or similar, he made them his own,' &c. &c. p. xii. Of his own performance Warburton says, 'The Notes in this Edition take in the whole Compass of Criticism. The first sort is employed in restoring the Poet's genuine Text; but in those places only where it labours with inextricable Nonsense. In which, how much soever I may have given scope to critical Conjecture, when the old Copies failed me, I have indulged nothing to Fancy or Imagination; but have religiously observed the severe Canons of literal Criticism, &c. &c.' p. xiv. Yet further on he says, 'These, such as they are, were amongst my younger amusements, when, many years ago I used to turn over these sort of Writers to unbend myself from more serious applications.' The excellence of the edition proved to be by no means proportionate to the arrogance of the editor. His text is, indeed, better than Pope's, inasmuch as he introduced many of Theobald's restorations and some probable emendations both of his own and of the two editors whom he so unsparingly denounced, but there is no trace whatever, so far as we have discovered, of his having collated for himself either the earlier Folios or any of the Quartos. Warburton[10] was, in his turn, severely criticised by Dr Zachary Grey, and Mr John Upton, in 1746, and still more severely by Mr Thomas Edwards, in his _Supplement to Mr Warburton's edition of Shakespeare_, 1747. The third edition of Mr Edwards's book, 1750, was called _Canons of Criticism and Glossary, being a Supplement, &c._ This title is a sarcastic allusion to two passages in Warburton's preface: 'I once intended to have given the Reader a _body of Canons_, for literal Criticism, drawn out in form,' &c. p. xiv, and 'I had it once, indeed, in my design, to give a general alphabetic _Glossary_ of these terms,' &c. p. xvi. Dr Grey's attack was reprinted, with additions, and a new title, in 1751, and again in 1752. Warburton and his predecessors were passed in review also by Mr Benjamin Heath, in _A Revisal of Shakespeare's text_, 1765. Dr Samuel Johnson first issued proposals for a new edition of Shakespeare in 1745, but met with no encouragement. He resumed the scheme in 1756, and issued a new set of Proposals (reprinted in Malone's preface), 'in which,' says Boswell, 'he shewed that he perfectly well knew what a variety of research such an undertaking required, but his indolence prevented him from pursuing it with that diligence, which alone can collect those scattered facts that genius, however acute, penetrating, and luminous, cannot discover by its own force.' Johnson deceived himself so far, as to the work to be done and his own energy in doing it, that he promised the publication of the whole before the end of the following year. Yet, though some volumes were printed as early as 1758 (Boswell, Vol. II. p. 84), it was not published till 1765, and might never have been published at all, but for Churchill's stinging satire: 'He for subscribers baits his hook, And takes your cash, but where's the book? No matter where; wise fear, you know, Forbids the robbing of a foe, But what, to serve our private ends, Forbids the cheating of our friends?' Not only Johnson's constitutional indolence and desultory habits, but also the deficiency of his eye-sight, incapacitated him for the task of minute collation. Nevertheless, he did consult the older copies, and has the merit of restoring some readings which had escaped Theobald. He had not systematically studied the literature and language of the 16th and 17th centuries; he did not always appreciate the naturalness, simplicity, and humour of his author, but his preface and notes are distinguished by clearness of thought and diction and by masterly common sense. He used Warburton's text, to print his own from. The readings and suggestions attributed to 'Johnson,' in our notes, are derived either from the edition of 1765, or from those which he furnished to the subsequent editions in which Steevens was his co-editor. Some few also found by the latter in Johnson's hand on the margin of his copy of 'Warburton,' purchased by Steevens at Johnson's sale, were incorporated in later editions. Johnson's edition was attacked with great acrimony by Dr Kenrick, 1765 (Boswell, Vol. II. p. 300). It disappointed the public expectation, but reached, nevertheless, a second edition in 1768. Tyrwhitt's _Observations and Conjectures_ were published anonymously in 1766. Capell's edition (10 volumes, small 8vo) was not published till 1768, though part of it had gone to press, as the editor himself tells us, in September, 1760. It contained the Plays in the order of the first and second Folios, with a preface, of which Dr Johnson said, referring to _Tempest_, I. 2. 356, 'The fellow should have come to me, and I would have endowed his purpose with words. As it is he doth gabble monstrously.' Defects of style apart, this preface was by far the most valuable contribution to Shakespearian criticism that had yet appeared, and the text was based upon a most searching collation of all the Folios and of all the Quartos known to exist at that time. Capell's own conjectures, not always very happy, which he has introduced into his text, are distinguished by being printed in black letter. The edition before us contains the scansion of the lines, with occasional verbal as well as metrical corrections, marked in red ink, in Capell's hand. This was done, as he tells us in a note prefixed to Vol. I., in 1769. He described, much more minutely than Pope had done, the places of the scenes, and made many changes, generally for the better, in the stage directions. In his peculiar notation, _Asides_ are marked by inverted commas, and obvious stage business is indicated by an obelus. In a note to his preface, p. xxiii, Capell says: 'In the manuscripts from which all these plays are printed, the emendations are given to their proper owners by initials and other marks that are in the margin of those manuscripts; but they are suppressed in the print for two reasons: First their number, in some pages, makes them a little unsightly; and the editor professes himself weak enough to like a well-printed book; in the next place, he does declare, that his only object has been to do service to his Author; which provided it be done, he thinks it of small importance by what hand the service was administer'd,' &c. By this unfortunate decision, Capell deprived his book of almost all its interest and value[11]. And thus his unequalled zeal and industry have never received from the public the recognition they deserved. In 1774, a volume of notes[12] was printed in quarto, and in 1783, two years after his death, appeared _Notes, Various Readings, and the School of Shakespeare_, 3 vols. 4to.[13] The printing of this work was begun in 1779. George Steevens, who had edited in 1766 a reprint of Twenty of the Plays of Shakespeare from the Quartos, at a time, when, as he himself afterwards said, he was 'young and uninformed,' and had been in the meanwhile one of Johnson's most active and useful correspondents, was formally associated with him as Editor in 1770 (Boswell, Vol. III. p. 116). At Steevens's suggestion, Johnson wrote to Dr Farmer of Emmanuel College, Cambridge, requesting him to furnish a Catalogue of all the Translations Shakespeare might have seen and used. Hence, it seems, Farmer took an interest in the successive editions, and supplied many valuable notes and acute conjectural readings. It was on Farmer's authority that _Pericles_ has been re-admitted among the Plays of Shakespeare. The first edition of Johnson and Steevens appeared in 1773. The improvements in this edition, as compared with those which bore Johnson's name only, are evidently the work of the new editor, who brought to the task diligent and methodical habits and great antiquarian knowledge, thus supplementing the defects of his senior partner. J. Collins, editor of Capell's _Notes_ &c. charged Steevens with plagiarism from Capell. Steevens denied the charge. The second edition came out in 1778; the third in 1785; and the fourth in 1793. In this edition Steevens made many changes in the text, as if for the purpose of differing from the cautious Malone, now become a rival. Edmond Malone contributed to Steevens his _Attempt to ascertain the order in which the plays attributed to Shakespeare were written_; in 1780, published a _Supplement_ to the edition of 1778, containing the Poems, the seven plays from F3, notes, &c., and moreover distinguished himself by various researches into the history and literature of the early English stage. He published in 1790 a new edition of Shakespeare in 10 volumes, 8vo, containing the Plays and Poems, 'collated verbatim with the most authentic copies, and revised,' together with several essay and dissertations, among the rest that on the order of the plays, corrected and enlarged. The animosities which both Steevens and Malone had the misfortune to excite, have had the effect of throwing some slur on their names as editors, and even as men, and have prevented the fair appreciation and a due acknowledgment of the services they rendered jointly and severally to English literature. The learning and ability displayed by Malone in denouncing Ireland's most clumsy and palpable of frauds, would have sufficed for the detection of the most cunningly conceived and skilfully executed. Among the critics of this time may be mentioned (1) Joseph Ritson, who published in 1783 his _Remarks, &c._ on the second edition of Johnson and Steevens, and in 1788, _The Quip Modest_, on the third edition, and (2) John Monck Mason, whose _Comments_ appeared in 1785, and _Further Observations_ in 1798. In 1803 appeared an edition in 21 volumes 8vo, edited by Isaac Reed. This is called on the title-page 'the Fifth Edition,' _i.e._ of Johnson and Steevens. It is generally known as the first _variorum_ edition. Chalmers's edition, 9 vols. 8vo, 1805, professes to be printed from the corrected text left by Steevens. The 'sixth edition' of Johnson and Steevens, or the second _variorum_, appeared in 1813, also edited by Reed; the 'seventh,' or third _variorum_, in 1821, edited by James Boswell, from a corrected copy left by Malone. Among those whose notes were communicated to or collected by various editors from Johnson to Boswell, the best known names are the following: Sir William Blackstone, Dr Burney, Bennet Langton, Collins the poet, Sir J. Hawkins, Musgrave, the editor of _Euripides_, Dr Percy, editor of the _Reliques_, and Thomas Warton. Less known names are: Blakeway, J. Collins, Henley, Holt White, Letherland, Roberts, Seward, Smith, Thirlby, Tollet, and Whalley[14]. Harness's edition, 8 volumes, 8vo, appeared in 1825. Of the comments published separately during the present century the principal are: 1. _Remarks, &c._, by E. H. Seymour, 2 vols, 8vo, 1805, in which are incorporated some notes left by Lord Chedworth. 2. _Shakspeare's himself again_, by Andrew Becket, 2 vols, 8vo. 1815. The author has indulged in a license of conjecture and of interpretation which has never been equalled before or since. We have nevertheless generally given his conjectures, except when he has gone the length of inventing a word. 3. _Shakspeare's Genius Justified_, by Zachary Jackson, 1 vol. 8vo, 1811. As the author himself had been a printer, his judgement on the comparative likelihood of this and that typographical error is worth all consideration. But he sometimes wanders 'ultra crepidam[15].' Douce's _Illustrations to Shakespeare_, 2 vols. 8vo, 1807, ought to be mentioned as a work of great antiquarian research, though he rarely suggests any new alteration of the text, and his name therefore will seldom occur in our notes. The more recent editions of Shakespeare are so well known and so easily accessible, that it is unnecessary for us, even were it becoming in this place, to undertake the invidious task of comparing their respective merits. It will suffice to mention the names of the editors in the order of their first editions: S. W. Singer, Charles Knight, Barry Cornwall, J. Payne Collier, S. Phelps, J. O. Halliwell, Alex. Dyce, Howard Staunton. We have also to mention the edition of Delius, 7 vols. 8vo, Elberfeld, 1854-61, the English text, with concise notes, critical and explanatory, in German, and that of Mr Richard Grant White (known as the author of _Shakespeare's Scholar_, 1854), published at Boston, United States, 1857. In 1853, Mr J. Payne Collier, published in 1 vol. 8vo, _Notes and Emendations to the text of Shakespeare's Plays, from early manuscript corrections, in a copy of the Folio 1632_, in his own possession. All the emendations given in this volume by Mr Collier, or subsequently as an Appendix to Coleridge's _Lectures_, except, of course, where they have been anticipated, have been recorded in our notes. We have no intention of entering into the controversy respecting the antiquity and authority of these corrections, nor is it necessary to enumerate the writings on a subject which is still so fresh in the memory of all. M. Tycho Mommsen, of Marburg, who published the most elaborate work on the so-called 'Perkins Folio,' also published in 1859 the text of the first Quartos of _Romeo and Juliet_, with a collation of the various readings of all editions down to Rowe's, a full description of the critical value of the different texts, and an inquiry into the versification, and incidentally the grammar and orthography of Shakespeare. The precise rules which he lays down disappear, for the most part, on a wider induction, and we greatly question whether it be worth while to register and tabulate such minutiæ as do not represent in any way Shakespeare's mind or hand, but only the caprices of this or that compositor, at a period when spelling, punctuation, and even rules of grammar, were matters of private judgement. But M. Mommsen's industry is beyond praise, and his practice of using the labours of English Editors, without insulting them, is worthy of all imitation[16]. Among the works to which reference will be found in our edition are the following: Coleridge's _Literary Remains_: Dr Guest's _History of English Rhythms_: _the Versification of Shakespeare_, by W. Sidney Walker, (1854), and _Criticisms_, by the same, 3 vols., post 8vo, (1860), edited by Mr Lettsom, who has also contributed in his notes some suggestions for the improvement of the text. It is to be regretted that these volumes have not been accompanied by an Index. Dr. Charles Badham's article in the _Cambridge Essays_, 1856, contains many ingenious suggestions. We have borrowed from several literary journals, the _Athenæum_, _Notes and Queries_, and the _Parthenon_, and from Magazines, the conjectures of their correspondents. When the real name of the correspondent, or what might be such, was signed, we have given it in our notes, as 'Hickson,' 'S. Verges' (from _Notes and Queries_). When the name was obviously fictitious, or when the article was not signed at all, we have noted it thus: 'Anon. (N. and Q.) conj.,' 'Anon. (Fras. Mag.) conj.,' &c., referring to _Notes and Queries_, _Fraser's Magazine_, &c. 'Spedding,' 'Bullock,' 'Lloyd,' 'Williams,' 'Wright,' indicate respectively our correspondents, Mr James Spedding, Mr John Bullock, of Aberdeen, the Rev. Julius Lloyd, Mr W. W. Williams, of Oxford, and Mr W. Aldis Wright, to each and all of whom we beg to return our best thanks. We have also to thank Mr Archibald Smith, Mr C. W. Goodwin, Mr Bolton Corney, Mr N. E. S. A. Hamilton, Mr J. Nichols, Mr Jourdain, Dr Brinsley Nicholson, Mr Halliwell, Dr Barlow, Mr Grant White, Mr B. H. Bright, Mr Henry A. Bright, and Mr Bohn, for friendly suggestions and kind offers of assistance. The proposed emendations, marked 'Anon. conj.' are those which we have not been able to trace, or those in which the authors have not sufficient confidence to acknowledge them. Those proposed with some confidence by the present editors are marked 'Edd. conj.' In conclusion, we commend this volume, the first product of long labour, to the indulgent judgement of critics. In saying this we are not merely repeating a stereotyped phrase. We have found errors in the work of the most accurate of our predecessors. We cannot hope to have attained perfect accuracy ourselves, especially when we consider the wide range which our collation has embraced, and the minute points which we have endeavoured to record, but at all events we have spared no pains to render our work as exact as we could. Those who have ever undertaken a similar task will best understand the difficulty, and will be most ready to make allowance for shortcomings. 'Expertus disces quam gravis iste labor.' W. G. C. J. G. The five plays contained in this volume occur in the first Folio in the same order, and, with one exception, were there printed for the first time. In the case of _The Merry Wives of Windsor_, two Quartos (Q1 and Q2), imperfect copies of an earlier play, appeared in 1602 and 1619, the second a reprint of the first. They are described in a special Introduction to that play, and a reprint of Q1, collated with Q2, follows it. A third Quarto (Q3) was printed from F1 in 1630. _The Tempest_ was altered by Dryden and D'Avenant, and published as _The Tempest; or the Enchanted Island_, in 1669. We mark the emendations derived from it: 'Dryden's version.' D'Avenant, in his _Law against Lovers_ fused _Measure for Measure_ and _Much ado about Nothing_ into one play. We refer to his new readings as being from 'D'Avenant's version.' [Footnote 1: A third editor was afterwards added. Mr Luard's election to the office of Registrary compelled him to relinquish his part, at least for the present; and the first volume, consequently, is issued under the responsibility of two editors only.] [Footnote 2: See page xxi.] [Footnote 3: A passage in the _Return from Parnassus_ compared with one in Bale's preface to his _Image of Both Churches_ puts this almost beyond a doubt.] [Footnote 4: Mr Wright in his preface to _Bacon's Essays_ mentions that he has collated ten copies of the edition of 1625, 'which though bearing the same date, are all different from each other in points of no great importance.'] [Footnote 5: Mr Bohn is mistaken in saying that the Capell copy has both titles. It has that of 1664 only, with the portrait, and B. J.'s verses underneath on the opposite page.] [Footnote 6: Capell's copy now before us contains the following note in Capell's hand-writing: 'This copy of Mr Theobald's edition was once Mr Warburton's; who has claim'd in it the notes he gave to the former which that former depriv'd him of and made his own, and some Passages in the Preface, the passages being put between hooks and the notes signed with his name. E. C.' The passage quoted from Theobald's Preface is one of those between hooks.] [Footnote 7: Thomas Rymer, whose book, called _A short View of Tragedy of the last Age_, 1693, gave rise to a sharp controversy.] [Footnote 8: Capell, who might be supposed to write 'sine ira et studio,' denies to Theobald even this merit: 'His work is only made a little better [than Pope's] by his having a few more materials; of which he was not a better collator than the other, nor did he excel him in use of them.' The result of the collations we have made leads us to a very different conclusion.] [Footnote 9: Notwithstanding this claim of identity, Warburton seems to have used Theobald's text to print from. Capell positively affirms this, (Preface, p. 18).] [Footnote 10: Dr Johnson told Burney that Warburton, as a critic, 'would make two-and-fifty Theobalds cut into slices.' (Boswell's _Life of Johnson_, Vol. ii. p. 85. Ed. 1835). From this judgment, whether they be compared as critics or editors, we emphatically dissent.] [Footnote 11: We trust that in our edition the matter which Capell discarded has been presented in a well-printed book. We have found no trace of the Manuscripts here spoken of.] [Footnote 12: In Lowndes's _Manual_ (Bohm), p. 2316, we find 'Notes and Various Readings to Shakespeare. By Edward Capell, Lond. 1759.' No such book of this date is in the Capell collection, nor is it ever mentioned elsewhere, so far as we know. In the preface to the work of 1783, it is mentioned that the first volume had been printed in 1774, but no allusion is made to any former edition.] [Footnote 13: These volumes, together with the whole of Shakespeare's _Plays_ and Milton's _Paradise Lost_, written out in Capell's own regular, but not very legible hand, are among his collection in Trinity College Library.] [Footnote 14: Steevens was accused of giving, under fictitious names, notes which he was afraid to sign himself.] [Footnote 15: The two last-named books, as well as some suggestions from correspondents, did not reach us till the first Volume was partly printed. We propose to supply all omissions in an Appendix to the whole work.] [Footnote 16: Aber man läuft ein gefährliches Spiel, wenn man nicht überall offen und bescheiden bekennt, dass man ganz von den Engländern abhange: ja man scheitert gewiss, wenn man mit der einen Hand allen Stoff von dem man lebt und athmet ihnen entnimmt, und mit der andern zum Dank Hohn und Beleidigung auf ihren Namen wirft. _Vorrede_, pp. vi. vii.] Erratum Noted by Transcriber 'stolen,' 'surreptitious,' and 'imperfect,' ["surreptitious" missing open quote] * * * * * * * * * * * * * * MACMILLAN & CO.'S LIST OF NEW AND POPULAR WORKS. SECOND EDITION. RAVENSHOE. By HENRY KINGSLEY, Author of 'Geoffry Hamlyn.' 3 Vols. crown 8vo. cloth, £1 11s. 6d. 'Admirable descriptions, which place "Ravenshoe" almost in the first rank of novels. Of the story itself it would really be difficult to speak too highly. The author stems to possess every essential for a writer of fiction.' --LONDON REVIEW. SECOND EDITION. RECOLLECTIONS OF GEOFFRY HAMLYN. By HENRY KINGSLEY. Crown 8vo. cloth, 6s. 'Mr. Henry Kingsley has written a work that keeps up its interest from the first page to the last--it is full of vigorous stirring life. The descriptions of Australian life in the early colonial days are marked by an unmistakable touch of reality and personal experience. A book which the public will be more inclined to read than to criticise, and we commend, them to each other.' --ATHENÆUM. SECOND EDITION. TOM BROWN AT OXFORD. 3 Vols. £1 11s. 6d. 'A book that will live. In no other work that we can call to mind are the finer qualities of the English gentleman more happily portrayed.' --DAILY NEWS. 'The extracts we have given can give no adequate expression to the literary vividness and noble ethical atmosphere which pervade the whole book.' --SPECTATOR. TWENTY-EIGHTH THOUSAND. TOM BROWN'S SCHOOL DAYS. By AN OLD BOY. Fcp. 8vo. 5s. 'A book which every father might well wish to see in the hands of his son.' --TIMES. EIGHTH THOUSAND. SCOURING OF THE WHITE HORSE. By the Author of 'Tom's Brown's School Days.' With numerous Illustrations by Richard Doyle. Imperial 16mo. Printed on toned paper, gilt leaves, 8s. 6d. 'The execution is excellent.... Like "Tom Brown's School Days," the "White Horse" gives the reader a feeling of gratitude and personal esteem towards the author. The author could not have a better style, nor a better temper, nor a more excellent artist than Mr. Doyle to adorn his book.' --SATURDAY REVIEW. * * * * * * * * * WORKS BY THE REV. CHARLES KINGSLEY. Chaplain in Ordinary to the Queen, Rector of Eversley, and Professor of Modern History in the University of Cambridge. HYPATIA. NEW EDITION. Crown 8vo. cloth, 6s. WESTWARD HO! NEW AND CHEAPER EDITION. Crown 8vo. cloth, 6s. TWO YEARS AGO. NEW AND CHEAPER EDITION. Crown 8vo. cloth, 6s. ALTON LOCKE, TAILOR AND POET. NEW EDITION. Crown 8vo, cloth, 4s. 6d. With New Preface. [-->] This Edition is printed in crown 8vo. uniform with 'Westward Ho!' &c., and contains New Preface. THE HEROES. GREEK FAIRY TALES FOR THE YOUNG. SECOND EDITION, with Illustrations. Royal 16mo. cloth, 3s. 6d. ALEXANDRIA AND HER SCHOOLS. Crown 8vo. cloth, 5s. THE LIMITS OF EXACT SCIENCE AS APPLIED TO HISTORY. INAUGURAL LECTURE AT CAMBRIDGE. Crown 8vo. 2s. PHAETHON: LOOSE THOUGHTS FOR LOOSE THINKERS. THIRD EDITION. Crown 8vo. 2s. * * * * * * * * * NEW AND CHEAPER EDITION (SIXTH THOUSAND). Handsomely printed on toned paper and bound in extra cloth. With Vignette and Frontispiece from Designs by the author. Engraved on Steel by C. H. Jeens. 4s. 6d. THE LADY OF LA GARAYE. By the Hon. Mrs. NORTON. Dedicated to the Marquis of Lansdowne. 'The poem is a pure, tender, touching tale of pain, sorrow, love, duty, piety, and death.' --EDINBURGH REVIEW. 'A true poem, noble in subject and aim, natural in flow, worthy in expression, with the common soul of humanity throbbing in every page through wholesome words.' --EXAMINER. GOBLIN MARKET AND OTHER POEMS. By CHRISTINA G. ROSSETTI. With Two Illustrations from Designs by D. G. Rossetti. Fcp. 8vo. cloth, 5s. BEHIND THE VEIL AND OTHER POEMS. By the Hon. RODEN NOEL. Fcp. 8vo. cloth. LEAVES FROM OUR CYPRESS AND OUR OAK. Handsomely printed on toned paper, gilt cloth. SECOND EDITION. EDWIN OF DEIRA. By ALEXANDER SMITH. Fcp. 8vo. cloth, 5s. BY THE SAME AUTHOR. A LIFE DRAMA AND OTHER POEMS. 4th Edition, 2s. 6d. CITY POEMS. Price 5s. BLANCHE LISLE AND OTHER POEMS. By CECIL HOME. Fcp. 8vo. cloth, 4s. 6d. 'The writer has music and meaning in his lines and stanzas, which, in the selection of diction and gracefulness of cadence, have seldom been excelled.' --LEADER. 'Full of a true poet's imagination.' --JOHN BULL. * * * * * * * * * THE POEMS OF ARTHUR HUGH CLOUGH, Sometime Fellow of Oriel College, Oxford. With a Memoir by F. T. PALGRAVE. Fcp. 8vo. cloth, 6s. 'Few, if any, literary men of larger, deeper, and more massive mind have lived in this generation than the author of these few poems, and of this the volume before us bears ample evidence ... There is nothing in it that is not in some sense rich either in thought or beauty, or both.' --SPECTATOR. Uniform with 'WESTWARD HO!' 'GEOFFRY HAMLYN,' &c. THE MOOR COTTAGE: A TALE OF HOME LIFE. By MAY BEVERLEY, author of 'Little Estella, and other Fairy Tales for the Young.' Crown 8vo. cloth, price 6s. 'This charming tale is told with such excellent art, that it reads like an episode from real life.' --ATLAS. 'The whole plot of the story is conceived and executed in an admirable manner: a work which, when once taken up, it is difficult to put down.' --JOHN BULL. Uniform with 'WESTWARD HO!' 'GEOFFRY HAMLYN,' &c. ARTIST AND CRAFTSMAN. Crown 8vo. cloth, price 6s. 'Its power is unquestionable, its felicity of expression great, its plot fresh, and its character very natural ... Wherever read, it will be enthusiastically admired and cherished.' --MORNING HERALD. Uniform with 'WESTWARD HO!' 'GEOFFRY HAMLYN,' &c. A LADY IN HER OWN RIGHT. By WESTLAND MARSTON. Crown 8vo. cloth, price 6s. 'Since "The Mill on the Floss" was noticed, we have read no work of fiction which we can so heartily recommend to our readers as "A Lady in her Own Right:" the plot, incidents, and characters are all good: the style is simple and graceful: it abounds in thoughts judiciously introduced and well expressed, and throughout a kind, liberal, and gentle spirit.' --CHURCH OF ENGLAND MONTHLY REVIEW. THE BROKEN TROTH: A TALE OF TUSCAN LIFE FROM THE ITALIAN. By PHILIP IRETON. 2 vols. fcp. 8vo. cloth, 12s. 'The style is so easy and natural ... The story is well told from beginning to end.' --PRESS. 'A genuine Italian tale--a true picture of the Tuscan peasant population, with all their virtues, faults, weaknesses, follies, and even vices ... The best Italian tale that has been published since the appearance of the 'Promessi Sposi' of Manzoni ... The 'Broken Troth' is one of those that cannot be read but with pleasure.' --LONDON REVIEW. * * * * * * * * * THE GREAT STONE BOOK. By D. T. ANSTED, M.A., F.R.S., late Fellow of Jesus College, Cambridge. With Illustrations. Fcp. 8vo. cloth, 5s. FOOTNOTES FROM THE PAGE OF NATURE: OR, FIRST FORMS OF VEGETATION A popular work on Algæ, Fungi, Mosses, and Lichens. By the Rev. HUGH MACMILLAN, F.R.S.E. With numerous Illustrations and a Coloured Frontispiece. Fcp. 8vo. 5s. Reduced In Price To Five Shillings. GLAUCUS; OR, WONDERS OF THE SEA SHORE. By CHARLES KINGSLEY, M.A. Rector of Eversley, and Chaplain in Ordinary to the Queen. Containing beautifully Coloured Illustrations of the Objects mentioned in the work. Royal 16mo. elegantly bound in cloth, gilt leaves, 5s. STRAY NOTES ON FISHING AND NATURAL HISTORY. By CORNWALL SIMEON. With Illustrations, 7s. 6d. THE HUMAN HAND AND THE HUMAN FOOT. By G. M. HUMPHRY, M.D. F.R.S., Lecturer on Surgery and Anatomy in the University of Cambridge. With numerous Illustrations. Fcp. 8vo. cloth, 4s. 6d. * * * * * * * * * TYPICAL FORMS AND SPECIAL ENDS IN CREATION. By JAMES McCOSH, LL.D., and GEORGE DICKIE, M.D., Professor in the Queen's University, Ireland. SECOND EDITION. Crown 8vo. with Illustrations, 6s. THE STORY OF A BOULDER; OR, GLEANINGS BY A FIELD GEOLOGIST. By ARCHIBALD GEIKIE. Illustrated. Fcp. 8vo. cloth, 6s. 'We do not know a more readable book on a scientific subject, and it will be invaluable to young people, as well as interesting to those who are already acquainted with the subject it treats of.' --CLERICAL JOURNAL. LIFE AND CORRESPONDENCE OF M. DE TOCQUEVILLE. Translated from the French. By the Translator of 'Napoleon Correspondence with King Joseph.' With numerous additions. 2 vols. crown 8vo. 21s. 'The appearance of this work will be welcomed by every politician and every Englishman capable of appreciating exhaustive and solid thought.' --SPECTATOR. 'Few men of the nineteenth century have attained a more remarkable influence.... Charming as specimens of style, they are of infinitely greater value as showing the inner life of a man who was as simple as a child, and yet as gifted as any of the many learned writers and scholars whom France has produced.' --BELL'S MESSENGER. PICTURES OF OLD ENGLAND. By Dr. REINHOLD PAULI. Translated, with the author's revision, by E. C. OTTÉ. With a Map of London in the Thirteenth Century. Crown 8vo. extra cloth, 8s. 6d. CONTENTS: I. Canterbury and the Worship of St. Thomas à Becket. II. Monks and Mendicant Friars. III. Parliament in the Fourteenth Century. IV. England's Earliest Relations to Austria and Prussia. V. The Emperor Louis IV. and King Edward III. VI. The Hanseatic Steel Yard in London. VII. Two Poets, Gower and Chaucer. VIII. John Wiclif. 'There are some books so admirable, that merely general criticism subsides into "_Read, it will satisfy you._" Dr. Pauli's work is of this kind.' --NONCONFORMIST. * * * * * * * * * GARIBALDI AT CAPRERA. By COLONEL VECCHJ. With Preface by Mrs. Gaskell, and a View of Caprera. Fcp. 8vo. cloth, 3s. Cd. 'After all has been told, there was something wanting to the full and true impression of the Patriot's character and mode of life; as every one who reads this artless and enthusiastic narration will certainly admit. Mrs. GASKELL says she knows that "every particular" of this full and minute account may be relied upon; and it has an air of truth that commends it even when it is most extravagant in its admiration.' --NONCONFORMIST. ROME IN 1860. By EDWARD DICEY, author of 'Life of Cavour.' Crown 8vo. cloth, 6s. 6d. 'So striking and apparently so faithful a portrait. It is the Rome of real life he has depicted.' --SPECTATOR. THE ITALIAN WAR OF 1848-9, And the last Italian Poet. By the late HENRY LUSHINGTON, Chief Secretary to the Government of Malta. With a Biographical Preface by G. STOVIN VENABLES. Crown 8vo. cloth, 6s. 6d. 'Perhaps the most difficult of all literary tasks--the task of giving historical unity, dignity, and interest to events so recent as to be still encumbered with all the details with which newspapers invest them--has never been more successfully discharged ... Mr. Lushington, in a very short compass, shows the true nature and sequence of the event, and gives to the whole story of the struggle and defeat of Italy a decree of unity and dramatic interest which not one newspaper reader in ten thousand ever supposed it to possess.' --SATURDAY REVIEW. EARLY EGYPTIAN HISTORY. FOR THE YOUNG, WITH DESCRIPTIONS OF THE TOMBS AND MONUMENTS. By the Author of 'Sidney Grey,' &c. and her Sister. SECOND EDITION. With Frontispiece. Fcp. 8vo. cloth, 5s. 'Full of information without being dull, and full of humour without being frivolous; stating in the most popular form the main results of modern research.... We have said enough to take our readers to the book itself, where they will learn more of Ancient Egypt than in any other popular work on the subject.' --LONDON REVIEW. SECOND EDITION. GEORGE BRIMLEY'S ESSAYS. Edited by WILLIAM GEORGE CLARK. M.A. Public Orator in the University of Cambridge. With Portrait. Crown 8vo. cloth, 5s. CONTENTS:--I. Tennyson's Poems; II. Wordsworth's Poems; III. Poetry and Criticism; IV. Angel in the House; V. Carlyle's Life of Sterling; VI. Esmond; VII. My Novel; VIII. Bleak House; IX. Westward Ho! X. Wilson's Noctes; XI. Comte's Positive Philosophy. 'One of the most delightful and precious volumes of criticism that has appeared in these days ... To every cultivated reader they will disclose the wonderful clearness of perception, the delicacy of feeling, the pure taste, and the remarkably firm and decisive judgment which are the characteristics of all Mr. Brimley's writings on subjects that really penetrated and fully possessed his nature.' --NONCONFORMIST. * * * * * * * * * BOOKS FOR THE YOUNG. A SERIES OF WORKS (uniformly printed and bound) by Professor KINGSLEY, the Author of 'John Halifax. Gentleman,' Mrs. OLIPHANT, and other Popular Writers. Handsomely printed in royal 16mo. extra gilt cloth, gilt leaves, at 3s. 6d. each. DAYS OF OLD: Stories from Old English History. By the Author of 'Ruth and Her Friends.' With Frontispiece. THE HEROES: Greek Fairy Tales for the Young. By CHARLES KINGSLEY, M.A., Vicar of Eversley, and Chaplain in Ordinary to the Queen. SECOND EDITION. With Illustrations. DAVID, KING OF ISRAEL: A History for the Young. By JOSIAH WRIGHT, Head Master of Sutton Coldfield Grammar School. With Illustrations. 'An excellent book ... well conceived, and well worked out.' --LITERARY CHURCHMAN. RUTH AND HER FRIENDS: A Story for Girls. THIRD EDITION. With Frontispiece. 'A book which girls will read with avidity, and cannot fail to profit by.' --LITERARY CHURCHMAN. OUR YEAR: A Child's Book in Prose and Rhyme. By the Author of 'John Halifax.' With numerous Illustrations by CLARENCE DOBELL. LITTLE ESTELLA And Other Fairy Tales. By MAY BEVERLEY. With Frontispiece. MY FIRST JOURNAL: A Book for Children. By GEORGIANA M. CRAIK, author of 'Lost and Won'. With Frontispiece. AGNES HOPETOUN'S SCHOOLS AND HOLIDAYS. By Mrs. OLIPHANT, Author of 'Margaret Maitland.' With Frontispiece. * * * * * * * * * THE GOLDEN TREASURY SERIES. Uniformly printed in 18mo. with Vignette Titles by T. Woolner, W. Holman Hunt, &c. Handsomely bound in extra cloth, 4s. 6d.; morocco plain, 7s. 6d.; morocco extra, 10s. Cd. each volume. THE GOLDEN TREASURY Of the best Songs and lyrical Poems in the English language. Selected and arranged, with Notes, by F. T. Palgrave. Fifteenth Thousand, with a Vignette by T. Woolner. 'There is no book in the English language which will make a more delightful companion than this ... which must not only be read, but possessed, in order to be adequately valued.' --SPECTATOR. THE CHILDREN'S GARLAND. From the best Poets. Selected and arranged by Coventry Patmore. Fourth Thousand, with Vignette by T. Woolner. 'Mr. Patmore deserves our gratitude for having searched through the wide field of English poetry for these flowers, which youth and age can equally enjoy, and woven them into "The Children's Garland."' --LONDON REVIEW. THE PILGRIM'S PROGRESS. By JOHN BUNYAN. With Vignette by W. Holman Hunt. Large-paper copies, crown 8vo. cloth, 7s. 6d.; half morocco, 10s. 6d. 'A prettier and better edition, and one more exactly suited for use as an elegant and inexpensive gift book, is not to be found.' --EXAMINER. THE BOOK OF PRAISE. From the best English Hymn-writers. Selected and arranged by Roundell Palmer. Eighth Thousand, with Vignette by T. Woolner. 'Comprehending nearly all that is excellent in the hymnology of the language. ... In the details of editorial labours the most exquisite finish is manifest.' --THE FREEMAN. BACON'S ESSAYS AND COLOURS OF GOOD AND EVIL. With Notes and Glossarial Index, by W. Aldis Wright, M.A. Trinity College, Cambridge. And a Vignette of Woolner's Statue of Lord Bacon. Large-paper copies, crown 8vo. cloth, 7s. 6d.; half morocco, 10s. 6d. Edited in a manner worthy of their merit and fame, as an English classic ought to be edited.' --DAILY NEWS. * * * * * * * * * WORKS BY DAVID MASSON, M.A. Professor of English Literature in University College, London. LIFE OF JOHN MILTON. Narrated in connexion with the Political, Ecclesiastical, and Literary History of his time. Vol. 1. 8vo. with Portraits, 18s. 'Mr. Masson's Life of Milton has many sterling merits ... his industry is immense: his zeal unflagging; his special knowledge of Milton's life and times extraordinary.... With a zeal and industry which we cannot sufficiently commend, he has not only availed himself of the biographical stores collected by his predecessors, but imparted to them an aspect of novelty by his skilful re-arrangement.' --EDINBURGH REVIEW. BRITISH NOVELISTS AND THEIR STYLES; Being a critical sketch of the History of British Prose Fiction. Crown 8vo. cloth, 7s. 6d. 'A work eminently calculated to win popularity, both by the soundness of its doctrine and the skill of its art.' --THE PRESS. ESSAYS, BIOGRAPHICAL AND CRITICAL. Chiefly on English Poets. By DAVID MASSON. 8vo. cloth, 12s. 6d. CONTENTS: I. Shakespeare and Goethe. II. Milton's Youth. III. The Three Devils: Luther's, Milton's, and Goethe's. IV. Dryden, and the Literature of the Restoration. V. Dean Swift. VI. Chatterton: A Story of the Year 1770. VII. Wordsworth. VIII. Scottish Influence on British Literature. IX. Theories of Poetry. X. Prose and Verse: De Quincey. 'Mr. Masson has succeeded in producing a series of criticisms in relation to creative literature which are satisfactory as well as subtile--which are not only ingenious, but which possess the rarer recommendation of being usually just.' --THE TIMES. * * * * * * * * * RELIGIO CHEMICI. By GEORGE WILSON, M.D. late Regius Professor of Technology in the University of Edinburgh. Crown 8vo. cloth. With a Vignette Title Page by NOEL PATON, engraved by C. JEENS. Price 8s. 6d. COUNSELS OF AN INVALID: Letters on Religious Subjects. By GEORGE WILSON. M.D. With Vignette Portrait. Fcp. 8vo. cloth, 4s. 6d. THE FIVE GATEWAYS OF KNOWLEDGE. A popular work on the Five Senses. By GEORGE WILSON, M.D. Eighth Thousand. In fcp. 8vo. cloth, with gilt leaves, 2s. 6d. People's Edition in ornamental stiff cover, 1s. THE PROGRESS OF THE TELEGRAPH. By GEORGE WILSON, M.D. Fcp. 8vo. 1s. MEMOIR OF GEORGE WILSON, M.D. F.R.S.E. Regius Professor of Technology in the University of Edinburgh. By his Sister, JESSIE AITKEN WILSON. With Portrait. 8vo. cloth, price 10s. 6d. 'His life was so pregnant in meaning, so rich in noble deeds, so full of that spiritual vitality which serves to quicken life in others; it bore witness to so many principles which we can only fully understand when we see them in action: it presented so many real pictures of dauntless courage and of Christian heroism, that we welcome gratefully the attempt to reproduce it which has resulted in the volume before us. Miss Wilson has entered lovingly upon her task, and has accomplished it well.' --PRESS. MEMOIR OF EDWARD FORBES, F.R.S. Late Regius Professor of Natural History in the University of Edinburgh. By GEORGE WILSON, M.D. F.R.S.E. and ARCHIBALD GEIKIE, F.R.S.E. F.G.S. of the Geological Survey of Great Britain. 8vo. cloth, with Portrait, 14s. 'We welcome this volume as a graceful tribute to the memory of as gifted, tender, generous a soul as Science has ever reared, and prematurely lost.' --LITERARY GAZETTE. * * * * * * * * * MEMOIR OF THE LIFE OF THE REV. ROBERT STORY, Late Minister of Rosneath, Dumbartonshire. By ROBERT HERBERT STORY, Minister of Rosneath. Crown 8vo. cloth, with Portrait, 7s. 6d. *** This volume includes several important passages of Scottish Religious and Ecclesiastical History during the Second Quarter of the present Century. Among others, the ROW CONTROVERSY, the RISE of the IRVINGITE MOVEMENT, the EARLY HISTORY of the FREE CHURCH, &c. &c. THE PRISON CHAPLAIN: A Memoir of the Rev. John Clay, Late Chaplain of Preston Gaol. With selections from his Correspondence and a Sketch of Prison Discipline in England. By his SON. With Portrait, 8vo. cloth, 15s. 'It presents a vigorous account of the Penal system in England in past times, and in our own ... It exhibits in detail the career of one of our latest prison reformers; alleged, we believe with truth, to have been one of the most successful, and certainly in his judgments and opinions one of the most cautious and reasonable, as well as one of the most ardent.' --SATURDAY REVIEW. MEMOIR OF GEORGE WAGNER, Late Incumbent of St. Stephen's, Brighton. By JOHN NASSAU SIMPKINSON, M.A. Rector of Brington, Northampton. Third and cheaper Edition. Fcp. 8vo. 5s. 'A more edifying biography we have rarely met with ... If any parish priest, discouraged by what he may consider an unpromising aspect of the time, should be losing heart ... we recommend him to procure this edifying memoir, to study it well, to set the example of the holy man who is the subject of it before him in all its length and breadth, and then he will appreciate what can be done even by one earnest man; and gathering fresh inspiration, he will chide himself for all previous discontent, and address himself with stronger purpose than ever to the lowly works and lofty aims of the ministry entrusted to his charge.' --LITERARY CHURCHMAN. FAMILY PRAYERS. By the Rev. GEORGE BUTLER, M.A. Vice-Principal of Cheltenham College, and late Fellow of Exeter College, Oxford. Crown 8vo. cloth, 5s. * * * * * * * * * MACMILLAN & CO.'S CAMBRIDGE SCHOOL & COLLEGE CLASS-BOOKS. MACMILLAN & CO. have issued at intervals during the last ten years, this Series of CAMBRIDGE CLASS-BOOKS FOR THE USE OF SCHOOLS AND COLLEGES, which is intended to embrace all branches of Education, from the most elementary to the most advanced, and to keep pace with the latest discoveries in Science. A descriptive Catalogue, stating the object aimed at in each work, with their size and prices, will be forwarded on application. Of those hitherto published, the sale of many thousands is a sufficient indication of the manner in which they have been appreciated by the public. The following SERIES of a more ELEMENTARY CHARACTER is now in course of publication. All the Volumes in this Elementary Series will be handsomely printed in 18mo., and published at a low price to ensure an extensive sale in the Schools of the United Kingdom and the Colonies:-- Euclid. For Colleges and Schools. By I. TODHUNTER, M.A., F.R.S., Fellow and Principal Mathematical Lecturer of St. John's College, Cambridge. 3s. 6d. [Now ready. An Elementary Latin Grammar. By H. J. ROBY, M.A., Under Master of Dulwich College Upper School, late Fellow and Classical Lecturer of St. John's College, Cambridge. 2s. 6d. [Now ready. An Elementary History of the Book of Common Prayer. By FRANCIS PROCTOR, M.A., Vicar of Witton, Norfolk, late Fellow of St. Catharine's College, Cambridge. 2s. 6d. [Now ready. Algebra for Beginners. By I. TODHUNTER, M.A., F.R.S. [In the Press. The School Class-Book of Arithmetic. By BARNARD SMITH, M.A., late Fellow of St. Peter's College, Cambridge. [In the Press. The Bible Word-Book. A Glossary of Old English Bible Words, with Illustrations. By J. EASTWOOD, M.A., St. John's College, Cambridge, and Incumbent of Hope-in-Hanley, Stafford, and W. ALDIS WRIGHT, M.A., Trinity College, Cambridge, [Preparing. *** _Other Volumes will be announced in due course._ WORKS BY I. TODHUNTER, M.A., F.R.S., Fellow and Principal Mathematical Lecturer of St. John's College, Cambridge. A Treatise on Algebra. For the Use of Colleges and Schools. With numerous Examples. Third Edition, revised. Crown 8vo. cloth, 7s. 6d. An Elementary Treatise on the Theory of Equations, with a Collection of Examples. Crown 8vo. cloth, 7s. 6d. A Treatise on Plane Trigonometry. For the use of Colleges and Schools. With numerous Examples. Second edition, revised. Crown 8vo. cloth, 5s. A Treatise on Spherical Trigonometry. For the use of Colleges and Schools. With numerous Examples. Crown 8vo. cloth, 4s. 6d. * * * * * * * * * A Treatise on Plane Co-ordinate Geometry, as applied to the Straight Line and the Conic Sections. With numerous Examples. Third and cheaper Edition. Crown 8vo. cloth, 7s. 6d. A Treatise on the Differential Calculus. With numerous Examples. Third Edition, revised. Crown 8vo. cloth, 10s. 6d. A Treatise on the Integral Calculus and its Applications. With numerous Examples. Second Edition, revised and enlarged. Crown 8vo. cloth, 10s. 6d. A Treatise on Analytical Statics. With numerous Examples. Second Edition, revised and enlarged. Crown 8vo. cloth, 10s. 6d. Examples of Analytical Geometry of Three Dimensions. Crown 8vo. cloth, 4s. A History of the Progress of the Calculus of Variations during the Nineteenth Century. 8vo. cloth, 12s. Euclid for Colleges and Schools. 18mo. 3s. 6d. WORKS BY BARNARD SMITH, M.A., Fellow of St. Peter's College, Cambridge. Arithmetic and Algebra, in their Principles and Application. With numerous Examples, systematically arranged. Eighth Edition, 696 pp. (1861). Crown 8vo. strongly bound in cloth, 10s. 6d. Arithmetic. For the use of Schools. New Edition (1862), 348 pp. Crown 8vo. strongly bound in cloth, 4s. 6d. Answers to all the Questions. Key to the above, containing Solutions to all the Questions in the latest Edition. Crown 8vo. 392 pp. Second Edition (1860). 8s. 6d. Exercises in Arithmetic. 104 pp. Crown 8vo. (1860), 2s. Or with Answers, 2s. 6d. Also sold separately in 2 Parts, price 1s. each. Answers, 6d. Plane and Spherical Trigonometry. With the Construction and Use of Tables of Logarithms. By J. C. SNOWBALL, M.A. Ninth Edition, 240 pp. (1856). Crown 8vo. 7s. 6d. Plane Trigonometry. With a numerous Collection of Examples. By R. D. BEASLEY, M.A. 106 pp. (1868). Crown 8vo. 3s. 6d. Elementary Treatise on Mechanics. With a Collection of Examples. By S. PARKINSON, B.D. Second Edition, 345 pp. (1860). Crown 8vo. 9s. 6d. A Treatise on Optics. By S. PARKINSON, B.D. 304 pp. (1859). Crown 8vo. 10s. 6d. Elementary Hydrostatics. With numerous Examples and Solutions. By J. B. PHEAR, M.A. Second Edition. 156 pp. (1857). Crown 8vo. 5s. 6d. Dynamics of a Particle. With numerous Examples. By P. G. TAIT, M.A. and W. J. STEELE, M.A. 304 pp. (1856). Crown 8vo. 10s. 6d. * * * * * * * * * Dynamics of a System of Rigid Bodies. With numerous Examples. By E. J. ROUTH, M.A. 336 pp. (1860). Crown 8vo. 10s. 6d. A Geometrical Treatise on Conic Sections. With Copious Examples from the Cambridge Senate-House Papers. By W. H. DREW, M.A. Second Edition. Crown 8vo. cloth, 4s. 6d. Solutions of the Problems contained in Drew's Conic Sections. Crown 8vo. 4s. 6d. An Elementary Treatise on Conic Sections and Algebraic Geometry. With a numerous Collection of Easy Examples progressively arranged, especially designed for the use of Schools and Beginners. By G. HALE PUCKLE, M.A. Second Edition, enlarged and improved. Crown 8vo. cloth, 7s. 6d. Elementary Treatise on Trilinear Co-ordinates. By N. M. FERRERS, M.A. 154 pp. (1861). Crown 8vo. 6s. 6d. A Treatise on Solid Geometry. By P. FROST, M.A. and J. WOLSTENHOLME, M.A. 8vo. 18s. A Treatise on the Calculus of Finite Differences. By GEOEGE BOOLE, D.C.L. Crown 8vo. 10s. 6d. A Treatise on Differential Equations. By GEORGE BOOLE, D.C.L. Crown 8vo. cloth, 14s. On the Algebraical and Numerical Theory of Errors of Observations and the Combination of Observations. By the Astronomer Royal, G. B. AIRY, M.A. 103 pp. (1861). 6s. 6d. Elementary Treatise on the Planetary Theory. By C. H. CHEYNE, B.A. Scholar of St. John's College. Crown 8vo. cloth, 6s. 6d. A Treatise on Attractions, Laplace's Functions, and the Figure of the Earth. By J. H. PRATT, M.A. Second Edition. Crown 8vo. 126 pp. (1861). 6s. 6d. Collection of Mathematical Problems and Examples. With Answers. By H. A. MORGAN, M.A. Pp. 190 (1858). Crown 8vo. 6s. 6d. Senate-House Mathematical Problems. With Solutions. 1848-51. By FERRERS and JACKSON. 8vo. 15s. 6d. 1848-51. (Riders.) By JAMESON. 8vo. 7s. 6d. 1854. By WALTON and MACKENZIE. 8vo. 10s. 6d. 1857. By CAMPION and WALTON. 8vo. 8s. 6d. 1860. By ROUTH and WATSON. Crown 8vo. 7s. 6d. Mythology for Latin Versification: a Brief Sketch of the Fables of the Ancients, prepared to be rendered into Latin Verse, for Schools. By F. C. HODGSON, B.D., late Provost of Eton College. New Edition, revised by F. C. HODGSON, M.A., Fellow of King's College, Cambridge. 18mo. cloth, 3s. Hellenica: a First Greek Reading-Book. Being a History of Greece, taken from Diodorus and Thucydides. By JOSIAH WRIGHT, M.A. Second Edition. Pp. 150 (1857). Fcp. 8vo. 3s. 6d. Demosthenes on the Crown. With English Notes. By B. DRAKE, M.A. Second Edition, to which is prefixed Æschines against Ctesiphon. With English Notes. (1860.) Fcp. 8vo. 5s. * * * * * * * * * Juvenal. For Schools. With English Notes and an Index. By JOHN E. MAYOR, M.A. Pp. 464 (1853). Crown 8vo. 10s. 6d. Cicero's Second Philippic. With English Notes. By JOHN E. B. MAYOR. Pp. 168 (1861). 6s. Help to Latin Grammar; or, the Form and Use of Words in Latin. With Progressive Exercises. By JOSIAH WRIGHT, M.A. Pp. 176 (1855). Crown 8vo. 4s. 6d. The Seven Kings of Rome. A First Latin Reading-Book. By JOSIAH WRIGHT, M.A. Second Edit. Pp. 138 (1857). Fcp. 8vo. 3s. Vocabulary and Exercises on 'The Seven Kings.' By JOSIAH WRIGHT, M.A. Pp. 04 (1857). Fcp. 8vo. 2s. 6d. First Latin Construing Book. By E. THRING, M.A. Pp. 104 (1855). Fcp. 8vo. 2s. 6d. Sallust.-- Catilina et Jugurtha. With English Notes. For Schools. By CHARLES MERIVALE, B.D. Second Edition. 172 pp. (1858). Fcp. 8vo. 4s. 6d. Catilina and Jugurtha may be had separately, price 2s. 6d. each. Æschyli Eumenides. The Greek Text with English Notes and an Introduction, containing an Analysis of Müller's Dissertations. By BERNARD DRAKE, M.A. 8vo. 7s. 6d. St. Paul's Epistle to the Romans. With Notes. By CHARLES JOHN VAUGHAN, D.D. Second Edition (1861). Crown 8vo. 5s. The Elements of Grammar taught in English. By E. THRING, M.A. Third Edition. 18mo. bound in cloth, 2s. The Child's English Grammar: being the Substance of the above. With Examples for Practice. Adapted for Junior Classes. By E. THRING, M.A. A New Edition. 18mo. limp cloth, 1s. WORKS IN PREPARATION. An Elementary Treatise on Natural Philosophy. By WILLIAM THOMSON, LL.D., F.R.S., late Fellow of St. Peter's College, Cambridge, Professor of Natural Philosophy in the University of Glasgow; and PETER GUTHRIE TAIT, M.A., late Fellow of St. Peter's College, Cambridge, Professor of Natural Philosophy in the University of Edinburgh. With numerous Illustrations. [In the press. An Elementary Treatise on Quaternions: with numerous Examples. By P. G. TAIT, M.A., Professor of Natural Philosophy in the University of Edinburgh. [Preparing. The New Testament in the Original Greek. Text revised by B. F. WESTCOTT, M.A. and F. J. HORT, M.A., formerly Fellows of Trinity College. [Preparing. THE NARRATIVE OF ODYSSEUS. Homer's Odyssey. Books IX--XII. The Greek Text, with English Notes, for Schools and Colleges. By JOHN E. B. MAJOR, Fellow and Principal Classical Lecturer of St. John's College, Cambridge. [In the press. SPOTTISWOODE AND CO., PRINTERS, NEW-STREET SQUARE, LONDON *** END OF THE PROJECT GUTENBERG EBOOK THE WORKS OF WILLIAM SHAKESPEARE [CAMBRIDGE EDITION] [VOL. 1 OF 9] *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.