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play called A Warning for Faire Women, 1599. Farmer is again out in his chronology.
Holt. See above, p. 190. Johnson's edition of Shakespeare, vol. viii., Appendix, note on viii. 194.
Kirkman, Francis, bookseller, published his Exact Catalogue of all the English Stage Plays in 1671.
Winstanley, William (1628-1698), compiler of Lives of the most famous English Poets, 1687. “These people, who were the Curls of the last age, ascribe likewise to our author those miserable performances Mucidorous and the Merry Devil of Edmonton” (Farmer).
seven years afterward. “Mr. Pope asserts “The troublesome Raigne of King John,' in two parts, 1611, to have been written by Shakespeare and Rowley : which edition is a mere copy of another in black letter, 1591. But I find his assertion is somewhat to be doubted : for the old edition hath no name of author at all; and that of 1611, the initials only, W. Sh., in the title-page” (Farmer). .
Nash. This reference was added in the second edition. See Arber's reprint of Greene's Menaphon, p. 17, or Gregory Smith, Elizabethan Critical Essays, i. 307, etc.
“ Peele seems to have been taken into the patronage of the Earl of Northumberland about 1593, to whom he dedicates in that year, “The Honour of the Garter, a poem gratulatorie—the firstling consecrated to his noble name.'—'He was esteemed,' says Anthony Wood, “a most noted poet, 1579 ; but when or where he died, I cannot tell, for so it is, and always hath been, that most Poets die poor, and consequently obscurely, and a hard matter it is to trace them to their graves. Claruit, 1599. Ath. Oxon., vol. i., p. 300.—We had lately in a periodical pamphlet, called The Theatrical Review, a very curious letter, under the name of George Peele, to one Master Henrie Marle, relative to a dispute between Shakespeare and Alleyn, which was compromised by Ben. Jonson.—'I never longed for thy companye more than last night; we were all verie merrie at the Globe, when Ned Alleyn did not scruple to affyrme pleasauntly to thy friende Will, that he had stolen hys speeche about the excellencie of acting in Hamlet hys tragedye, from conversaytions manifold, whych had passed between them, and opinions gyven by Alleyn touchyng that subjecte. Shakespeare did not take this talk in good sorte ; but Jonson did put an end to the stryfe wyth wittielie saying, thys affaire needeth no contentione ; you stole it from Ned no doubte : do not marvel : haue you not seene hym acte tymes out of number?'- This is pretended to be printed from the original MS. dated 1600; which agrees well enough with Wood's Claruit : but unluckily Peele was dead at least two years before. As Anacreon died by the pot,' says Meres, “so George Peele by the pox,' Wit's Treasury, 1598, p. 286” (Farmer).
Constable in Midsummer Night's Dream. Apparently a mistake for Much Ado.
207. two children. Susannah, Judith, and Hamnet were all born at Stratford. Judith and Hamnet were twins. Cf. p. 21 and note.
“ cheers up himself with ends of verse." Butler, Hudibras, i. 3. 1011.
Wits, Fits, and Fancies. “ By one Anthony Copley, 4to, black letter ; it seems to have had many editions : perhaps the last was in 1614.- The first piece of this sort that I have met with was printed by T. Berthelet, tho' not mentioned by Ames, called “Tales, and quicke answeres very mery and pleasant to rede.' 4to, no date.” (Farmer). 208. Master Page, sit. 2 Henry IV., v. 3. 30.
Heywood. In the “To the Reader' prefixed to his Sixt Hundred of Epigrammes (Spenser Society reprint, 1867, p. 198).
Dekker. Vol. iii., p. 281 (ed. 1873).
Water-poet. See the Spenser Society reprint of the folio of 1630, p. 545.
Rivo, says the Drunkard. 1 Henry IV., ii. 4. 124. 209. What you will. Act ii., Sc. 1 (vol. i., p. 224, ed. 1856).
Love's Labour Lost, iv. 1. 100. This paragraph was added in the second edition.
Taming of the Shrew, ii. 1. 73.
Heath. Revisal of Shakespear's Text, p. 159. This quotation was added in the second edition.
Heywood, Epigrammes upon prouerbes, 194 (Spenser Soc. reprint, p. 158).
210. Howell, James (1594-1666), Historiographer, author of the Epistolae Ho-Elianae. Proverbs or old sayed Saws and Adages in English or the Saxon Tongue formed an appendix to his Lexicon Tetraglotton (1659-60). The allusion to Howell was added in the second edition.
Philpot, John (1589-1645). See Camden's Remains concerning Britain, 1674, “Much amended, with many rare Antiquities never before Imprinted, by the industry and care of John Philipot, Somerset Herald, and W. D. Gent ” : 1870 reprint, p. 319.
Grey. Notes on Shakespeare, ii., p. 249.
Romeo. “It is remarked that “Paris, tho' in one place called Earl, is most commonly stiled the Countie in this play. Shakespeare seems to have preferred, for some reason or other, the Italian Conte to our Count :---perhaps he took it from the old English novel, from which he is said to have taken his plot.'--He certainly did so : Paris is there first stiled a young Earle, and afterward Counte, Countee, and County, according to the unsettled orthography of the time. The word, however, is frequently met with in other writers, particularly in Fairfax," etc. (Farmer).
Painter, vol. ii. 1567, 25th novel. Arthur Broke's verse rendering, founded on Boaistuau's (or Boisteau's) French version of Bandello,
appeared in 1562 ; and it was to Broke, rather than to Painter, that Shakespeare was indebted. See P. A. Daniel's Originals and Analogues, Part I. (New Shakspere Society, 1875).
Taming of the Shrew. Induction, i. 5.
Philips,-Edward Phillips (1630-1696), Milton's nephew. See his Theatrum Poetarum, or a Complear Collection of the Poets, 1675, ii. p. 195. Cf. also Winstanley's English Poets, p. 218.
Heywood, in the Apology for Actors, 1612, alluded to above ; see Hawkins's Origin of the English Drama, 1773, ii., p. 3, and Boas's Works of Kyd, 1901, pp. xiii, civ, and 411. Mr. Boas gives Hawkins the credit of discovering the authorship of The Spanish Tragedy “some time before 1773," but the credit is Farmer's. Hawkins was undoubtedly indebted. to Farmer's Essay. 211. Henry the fifth, Act iii., Sc. 4.
not published by the author. “Every writer on Shakespeare hath expressed his astonishment that his author was not solicitous to secure his fame by a correct edition of his performances. This matter is not understood. When a poet was connected with a particular playhouse, he constantly sold his works to the Company, and it was their interest to keep them from a number of rivals. A favourite piece, as Heywood informs us, only got into print when it was copied by the ear, • for a double sale would bring on a suspicion of honestie.' Shakespeare therefore himself published nothing in the drama : when he left the stage, his copies remained with his fellow-managers, Heminge and Condell ; who at their own retirement, about seven years after the death of their author, gave the world the edition now known by the name of the first Folio, and call the previous publications stolne and surreptitious, maimed and deformed by the frauds and stealths of injurious impostors.' But this was printed from the playhouse copies ; which in a series of years had been frequently altered, thro' convenience, caprice, or ignorance. We have a sufficient instance of the liberties taken by the actors, in an old pamphlet by Nash, called Lenten Stuff, with the Prayse of the red Herring, 4to, 1599, where he assures us that in a play of his, called the Isle of Dogs, foure acts, without his consent, or the least guesse of his drift or scope, were supplied by the players.'—This, however, was not his first quarrel with them. In the Epistle prefixed to Greene's Arcadia, which I have quoted before, Tom hath a lash at some vaine glorious tragedians, and very plainly at Shakespeare in particular ; which will serve for an answer to an observation of Mr. Pope, that had almost been forgotten : 'It was thought a praise to Shakespeare that he scarce ever blotted a line. I believe the common opinion of his want of learning proceeded from no better ground. This, too, might be thought a praise by some.' But hear
Nash, who was far from praising : * I leaue all these to the mercy of their mother-tongue, that feed on nought but the crums that fall from the translator's trencher,—that could scarcely Latinize their neck verse if they should haue neede; yet English Seneca, read by candle-light, yeelds many good sentences-hee will affoord you whole Hamlets, I should say, handfuls of tragicall speeches. I cannot determine exactly when this Epistle was first published; but, I fancy, it will carry the original Hamlet somewhat further back than we have hitherto done ; and it may be observed that the oldest copy now extant is said to be "enlarged to almost as much againe as it was.' Gabriel Harvey printed at the end of the year 1592 Foure Letters and certaine Sonnetts, especially touching Robert Greene : in one of which his Arcadia is mentioned. Now Nash's Epistle must have been previous to these, as Gabriel is quoted in it with applause ; and the Foure Letters were the beginning of a quarrel. Nash replied in Strange Newes of the intercepting certaine Letters, and a Convoy of Verses, as they were going privilie to victual the Low Countries, 1593. Harvey rejoined the same year in Pierce's Supererogation, or a new Praise of the old Asse ; and Nash again, in Have with you to Saffron Walden, of Gabriel Harvey's Hunt is up ; containing a full Answer to the eldest Sonne of the Halter-maker, 1596.- Dr. Lodge calls Nash our true English Aretine : and John Taylor, in his Kicksey-Winsey, or a Lerry Come-twang, even makes an oath by sweet satyricke Nash his urne.'-He died before 1606, as appears from an old comedy called The Return from Parnassus” (Farmer). See Gregory Smith, Elizabethan Critical Essays, especially i. 424-5.
211. Hawkins. Johnson's Shakespeare, vol. viii., Appendix, note on iv., p. 454. The quotation from Johnson, and the references to Eliot and Du Bartas, were added in the second edition.
Est-il impossible. Henry V., iv. 4. 17.
Orthoepia of John Eliot. “ Lond., 1593, 4to. Eliot is almost the only witty grammarian that I have had the fortune to meet with. In his Epistle prefatory to the Gentle Doctors of Gaule, he cries out for persecution, very like Jack in that most poignant of all Satires, the Tale of a Tub, I pray you be readie quicklie to cauill at my booke, I beseech you heartily calumniate my doings with speede, I request you humbly controll my method as soone as you may, I earnestly entreat you hisse at my inventions,” etc. (Farmer).
Sejanus. See Jonson's "To the Readers’: “Lastly, I would inform you that this book, in all numbers, is not the same with that which was acted on the public stage ; wherein a second pen had good share : in place of which, I have rather chosen to put weaker, and, no doubt, less pleasing, of mine own, than to defraud so happy a genius of his right by my loathed usurpation.” Jonson is supposed to refer here to Shakespeare.
But what if ... Capell's Prolusions, added in the second edition.
ghet of his po 197 and 2185717P. 24, 25.
Pierce Penilesse, ed. J. P. Collier (Shakespeare Society, 1842), p. 60.
212. Tarlton, Richard (d. 1588), -Jests, drawn into three parts, ed. Halliwell (Shakespeare Society, 1844), pp. 24, 25: Old English Jest Books, ed. W. C. Hazlitt (1864), pp. 218, 219.
Capell. Cf. pp. 197 and 198. He describes Edward III. on the title page of his Prolusions or Select Pieces of Antient Poetry, 1760, as “thought to be writ by Shakespeare.”
Laneham, Robert, who appears in Scott's Kenilworth. The letter has been reprinted by the Ballad Society (1871), and the New Shakspere Society (1890). Referring to the spelling of the name, Farmer says in a note, “ It is indeed of no importance, but I suspect the former to be right, as I find it corrupted afterward to Lanam and Lanum.”
Meres. “This author by a pleasant mistake in some sensible Conjectures on Shakespeare, lately printed at Oxford, is quoted by the name of Maister. Perhaps the title-page was imperfect; it runs thus : * Palladis Tamia. Wits Treasury. Being the second part of Wits Commonwealth, By Francis Meres Maister of Artes of both Universities.' I am glad out of gratitude to this man, who hath been of frequent service to me, that I am enabled to perfect Wood's account of him ; from the assistance of our Master's very accurate list of graduates (which it would do honour to the university to print at the publick expense) and the kind information of a friend from the register of his parish :—He was originally of Pembroke-Hall, B.A. in 1587, and M.A. 1591. About 1602 he became rector of Wing in Rutland ; and died there, 1646, in the 81st year of his age” (Farmer). See Ingleby's Shakspere Allusion-Books or Gregory Smith's Elizabethan Critical Essays. The reference at the beginning of Farmer's note is to Tyrwhitt's Observations and Conjectures upon some passages of Shakespeare, 1766.
the Giant of Rabelais. See As You Like It, iii, 2. 238, and King Lear, iii. 6. 7, 8.
John Taylor. See note, p. 163. “I have quoted many pieces of John Taylor, but it was impossible to give their original dates. He may be traced as an author for more than half a century. His works were collected in folio, 1630, but many were printed afterward,” etc. (Farmer). The reference to Gargantua will be found on p. 160 of the Spenser Society Reprint of the Folio. Taylor refers to Rabelais also in his Dogge of Warre, id., p. 364.
213. Richard the third. “Some inquiry hath been made for the first performers of the capital characters in Shakespeare. We learn that Burbage, the alter Roscius of Camden, was the original Richard, from a passage in the poems of Bishop Corbet ; who introduces his host at Bosworth describing the battle :
“ But when he would have said King Richard died,
And call’d a horse, a horse, he Burbage cried.”