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 WILLIAM ALDIS WRIGHT, M.A. LIBRARIAN OF TRINITY COLLEGE, CAMBRIDGE.

VOLUME VI.

Cambridge and London: MACMILLAN AND CO. 1865.

[Pg iv]

CAMBRIDGE: PRINTED BY C. J. CLAY, M.A. AT THE UNIVERSITY PRESS.

[Pg v]

PREFACE.

1. 'The Famous History of the Life of King Henry the Eight' was printed for the first time in the Folio of 1623.

2. The earliest edition of 'Troilus and Cressida' of which we have any knowledge was the Quarto which was printed in 1609 with the following title:

The | Historie of Troylus | and Cresseida. | As it was acted by the Kings Maiesties | seruants at the Globe. | Written by William Shakespeare. | LONDON | Imprinted by G. Eld for R. Bonian and H. Walley, and | are to be sold at the spred Eagle in Paules | Church-yeard, ouer against the | great North doore. | 1609. |

In the same year was issued another edition, printed from the same form as the preceding, but with the following title:

The | Famous Historie of | Troylus and Cresseid. | Excellently expressing the beginning | of their loues, with the conceited wooing | of Pandarus Prince of Licia. | Written by William Shakespeare. | LONDON | Imprinted by G. Eld for R. Bonian and H. Walley, and | are to be sold at the spred Eagle in Paules | Church-yeard, ouer against the | great North doore. | 1609. |

Besides the variations in the title-page this edition differs from the preceding in having a preface, apparently the work of the publisher, of which the heading is 'A neuer writer, to an euer reader. Newes.' In this preface the play is called a new one, 'neuer stal'd with the Stage,[Pg viii] neuer clapper-clawd with the palmes of the vulger,' and hence it has been inferred that the edition with the preface is the earlier of the two. It appears, however, upon a close examination, that all the copies were printed from the same form, that the title which we have recorded first was the original one, and that in some copies this was cancelled, and the new title and preface inserted on a new half-sheet and with a new signature. The title-page of the edition with the preface is printed from the same form as the other title-page, as is evident from a comparison of the parts in each, from 'Written by William Shakespeare' to the end, which are absolutely identical. As the running title, 'The history of Troylus and Cresseida' corresponds with the first quoted title-page, we believe that

the copies with this title-page were first issued for the theatre, and afterwards those with the new title-page and preface for general readers. In this case the expression 'neuer stal'd with the Stage, neuer clapper-clawd with the palmes of the vulger' must refer to the first appearance of the play in type, unless we suppose that the publisher was more careful to say what would recommend his book than to state what was literally true.

Since, in the play itself, these two editions are identical, we refer to them by one symbol, Q.

It appears from an entry in the Stationers' Registers, 7 Feb. 1602/3, that a play called 'Troilus and Cressida' had been acted by the Lord Chamberlain's Servants, and this Mr Staunton conjectures may have been the same as that upon which Decker and Chettle are known, from Henslowe's Diary, to have been engaged in 1599, and may possibly have formed the foundation of the later play.

In the Folio of 1623, Troilus and Cressida stands between the Histories and the Tragedies. The Tragedies at first began with Coriolanus. Then followed Titus Andronicus and Romeo and Juliet, and it appears upon examination that the editors intended Troilus and Cressida to be next in order. With this view the first three pages were actually printed and paged so as to follow Romeo and Juliet, and the play was called 'The Tragedie of[Pg ix] Troylus and Cressida.' Whether it was found that the title of tragedy could not with propriety be given to it, or whatever may have been the cause, the editors changed its position, cancelled the leaf containing the end of Romeo and Juliet on one side and the beginning of Troilus and Cressida on the other, but retained the other leaf already printed, and then added the prologue to fill up the blank page, which in the original setting of the type had been occupied by the end of Romeo and Juliet. The rest of the play was printed with a new set of signatures and without any pagination, and was simply called 'Troylus and Cressida.'

There are very remarkable discrepancies between the Quarto and the Folio text of this play, similar in character to those which are found on comparing the two texts of Richard III. In the present case, however, they are not nearly so frequent, nor, as a general rule, so important. Some of the most important have been mentioned specially in the notes at the end of the play, and all the others recorded in the foot-notes. We find in the Folio several passages essential to the sense of the context which do not exist in the Quarto, and which therefore must have been omitted by the negligence of a copyist or printer. On the other hand we find some passages in the Quarto, not absolutely essential to the sense, though a decided improvement to it and quite in the author's manner, which either do not appear in the Folio at all, or appear in a mutilated form. Sometimes the lines which are wrongly divided in the Quarto are divided properly in the Folio, and vice versa: in this point, however, the former is generally more correct than the latter. The

two texts differ in many single words: sometimes the difference is clearly owing to a clerical or typographical error, but in other cases it appears to result from deliberate correction, first by the author himself, and secondly by some less skilful hand. The main duty of an editor must be to discriminate the one from the other, and in the first case to prefer the text of the Folio, and in the second to reject it in favour of the Quarto. On the whole we are[Pg x] of opinion that the Quarto was printed from a transcript of the author's original MS.; that this MS. was afterwards revised and slightly altered by the author himself, and that before the first Folio was printed from it, it had been tampered with by another hand. Perhaps the corrections are due to the writer who did not shrink from prefixing to Shakespeare's play a prologue of his own.

3. Coriolanus was first published in the Folio of 1623. The text abounds with errors, due, probably, to the carelessness or the illegibility of the transcript from which it was printed.

4. Titus Andronicus was, so far as we know[A], published for the first time in the year 1600, in Quarto, with the following title-page:

The most lamenta-|ble Romaine Tragedie of Titus | Andronicus. | As it hath sundry times beene playde by the | Right Honourable the Earle of Pembrooke, the | Earle of Darbie, the Earle of Sussex, and the | Lorde Chamberlaine theyr | Seruants. | At London, | Printed by I. R. for Edward White | and are to bee solde at his shoppe, at the little | North doore of Paules, at the signe of | the Gun. 1600. |

[A] In the Registers of the Stationers' Company are the following entries with regard to a book called 'Titus Andronicus,' but it is more than doubtful whether any of them refer to the editions of the play of that name which have come down to us. It will be seen that the entry under the date, 19 April, 1602, speaks of a transference of copyright from Thomas Millington to Thomas Pavier, but as both the extant editions of the play, printed respectively in 1600 and 1611, were published by Edward White, the entry can have reference to neither of these.

6 February, 1593.

John Danter. Entered for his copye under handes of bothe the wardens a booke intituled, A Noble Roman-Historye of Tytus Andronicus. vjd.

1602. 19 April.

Tho. Pavier. Entred for his copies by assignmt from Thomas Millington these bookes folowing; salvo jure cuiuscumque—

viz.

A booke called Thomas of Reading. vjd.

The first and second pts of Henry the VIt. ij bookes. xijd.

A booke called Titus and Andronic'. vjd.

Under the date 14o Dec. 1624, among a list of 'Ballades' is mentioned 'Titus and Andronmus.' Again, on 8o Novemb. 1630, is an entry assigning to Ric. Cotes from Mr Bird 'all his estate right title and interest in the Copies hereafter menconed,' and in the list which follows is 'Titus and Andronicus.' On 4 Aug. 1626, Thomas Pavier had assigned his right in Titus Andronicus to Edw. Brewster and Rob. Birde, so that apparently the same book is spoken of here as in the entry under the date 19 April, 1602. This being the case, it is difficult to account for the fact that a book, which in 1602 was the property of Thomas Millington, should in 1600 have been printed for Edward White, and that, after the transference of the copyright from Millington to Pavier, a second edition of the same book should have been printed in 1611 for the same Edward White. No edition with Millington's name on the title has yet been found.

Langbaine, in his Account of the English Dramatick Poets, p. 464 (ed. 1691), says of Titus Andronicus, 'This Play was first printed 4o. Lond. 1594. and acted by the Earls of Derby, Pembroke, and Essex, their Servants.' Whether or not this is the same as 'titus and ondronicus' mentioned in Henslowe's Diary (p. 33, ed. Collier) as acted for the first time on the 23 Jan. 1593, it is impossible to say.

[Pg xi]

Only two copies of this edition are known to exist, one in the library at Bridgewater House, and one in the library of the University of Edinburgh[B]. From a tracing of the title-page of the latter, kindly sent us by Mr D. Laing, we find that it agrees in every particular with the above, which we have copied from the Bridgewater Quarto, now before us.

[B] Not the Signet Library, as stated by Mr Collier.

For some time the Bridgewater copy was believed to be unique. Todd was the first to collate it, somewhat hastily as it would seem, with Steevens' edition of 1793, and the results were given in the notes to the first variorum edition (1803). Subsequent editors were content to accept Todd's authority till Mr Collier consulted the original for himself. Lady Ellesmere's kind liberality has enabled us to do the like. We have gone over it with great care, and succeeded in recovering a considerable number of readings which had escaped the notice of previous collators. Taking its rarity into account, we have recorded the variations of this edition with unusual minuteness. They are the better worth notice, as the book is printed with remarkable accuracy. We call it Q1.

[Pg xii]

The second edition of Titus Andronicus was published in 1611. This we call Q2. Its title-page is as follows:

The | most lamen-|table Tragedie | of Titus Andronicus. | As it hath sundry | times beene plaide by the Kings | Maiesties Seruants. | London, | Printed for Eedward White, and are to be solde | at his shoppe, nere the little North dore of | Pauls, at the signe of the | Gun. 1611. |

This edition was printed from that of 1600, from which it varies only by some printer's errors and a few conjectural alterations.

The first Folio text was printed from a copy of the second Quarto which, perhaps, was in the library of the theatre, and had some MS. alterations and additions made to the stage directions. Here, as elsewhere, the printer of the Folio has been very careless as to metre. It is remarkable that the Folio contains a whole scene, Act III. Sc. 2, not found in the Quartos, but agreeing too closely in style with the main portion of the play to allow of the supposition that it is due to a different author. The scene may have been supplied to the players' copy of Q2 from a manuscript in their possession.

Ravenscroft's version quoted in our notes is an alteration of the play, published in 1687 under the title of 'Titus Andronicus: or the Rape of Lavinia.'

We have to thank Dr Delius of Bonn, for sending us the second edition of his 'Shakespeare,' and for the interest he has taken in our work, Dr Leo of Berlin, for a present of his edition of 'Coriolanus,' Mr Rivington and Mr Greenhill, for procuring us access to the registers of the Stationers' Company, and Sir S. M. Peto, Sir J. Claridge, Professor Blackie, Mr D. Laing, the Rev. T. J. Rowsell, Dr Kingsley, Mr R. H. Martley, Mr L. Booth, and Mr H. Peto, for various acts of kindness.

[Pg xiii]

W. G. C. W. A. W.

ERRATUM.

Coriolanus, I. 9. 45. note,

for Collier conj. read Singer conj.

[Pg 1]

[Pg 2]

DRAMATIS PERSONÆ[C].

Several Lords and Ladies in the Dumb Shows; Women attending upon the Queen; Scribes, Officers, Guards, and other Attendants.

Spirits.

Scene: London; Westminster; Kimbolton.

[C] Dramatis Personæ. First given, imperfectly, by Rowe.

[Pg 3]

THE FAMOUS HISTORY OF THE LIFE OF

KING HENRY VIII.

THE PROLOGUE.

FOOTNOTES:

[1] high and working] and high-working Staunton.

full] F1 F4. fall F2 F3.

[2] now] shall Pope.

[3] agree] Pope, a gree, F1. agree, F2F3F4.

[4] beside] besides Pope (ed. 2).

[5] To make] That make Rowe. To make ... intend] Or make; that only truth we now intend Johnson conj. That only true to make we now intend Tyrwhitt conj.

[6] never] ne'er S. Walker conj.

[7] and as] as Pope.

[8] ye see] before ye Theobald. you see Delius.

[9] noble story] history Capell (Heath conj.)

ACT I.

Scene I. London. An ante-chamber in the palace.

Enter the Duke of Norfolk at one door: at the other, the Duke of Buckingham and the Lord Abergavenny.[9a]

Enter Cardinal Wolsey, the purse borne before him, certain of the Guard, and two Secretaries with papers. The Cardinal in his passage fixeth his eye on Buckingham, and Buckingham on him, both full of disdain.

Enter Brandon, a Sergeant at arms before him, and two or three of the Guard.[77]

Scene II. The same. The council-chamber.

Cornets. Enter King Henry, leaning on the Cardinal's shoulder; the Nobles, and Sir Thomas Lovell: the Cardinal places himself under the King's feet on his right side.[92]

A noise within, crying 'Room for the Queen!' Enter Queen Katharine, ushered by the Duke of Norfolk, and the Duke of Suffolk: she kneels. The King riseth from his state, takes her up, kisses and placeth her by him.[97]

Enter Surveyor.

[Pg 22]

Scene III. An antechamber in the palace.

Enter the Lord Chamberlain and Lord Sands.[168]

Enter Sir Thomas Lovell.[177]

Scene IV. A Hall in York Place.

Hautboys. A small table under a state for the Cardinal, a longer table for the guests. Then enter Anne Bullen and divers other Ladies and Gentlemen as guests, at one door; at another door, enter Sir Henry Guildford.[197]

Enter Lord Chamberlain, Lord Sands, and Sir Thomas Lovell.[201]

Hautboys. Enter Cardinal Wolsey, and takes his state.

[Drum and trumpet: chambers discharged.[215]

Re-enter Servant.[217]

[Exit Chamberlain, attended. All rise, and tables removed.[221]

Hautboys. Enter the King and others, as masquers, habited like shepherds, ushered by the Lord Chamberlain. They pass directly before the Cardinal, and gracefully salute him.[224]

[They choose. The King chooses Anne Bullen.[229]

[Whispers the Masquers.[233]

[Exeunt with trumpets.

FOOTNOTES:

[9a] Act i. Scene i.] Actus Primus. Scæna Prima. Ff. The Acts and Scenes are indicated throughout in Ff.

London. An ante-chamber in the palace.] Theobald.

[10] saw] F1 F2. saw y' F3 F4.

[11] suns] sunnes F1 F2. sons F3 F4.

[12] Andren] F1. Arde F2 F3 F4. Ardres Rowe.

Arde] Ff. Ardres Rowe.

[13] them] 'em Pope.

[14] Which ... weigh'd] One line in Rowe (ed. 2). Two lines, the first ending they, in Ff.

[15] next ... last] last ... next Capell (Theobald conj.)

[16] wonders] wond'rers Theobald conj.

its] it's Ff. his Hanmer.

[17] heathen] F1. Heathens F2 F3 F4.

[18] censure. When] Rowe. censure, when Ff.

[19] former] old Pope.

[20] That] And Seymour conj.

[21] to] too F1.

[22] All was royal ... business.] Arranged as by Theobald. Buc. All ... function: who ... together? Nor. As you ... businesse. F1 F2 F3. Buck. All ... function: who ... together, As you guess. Nor. Once certes ... business. F4.

[23] the office] each office Roderick conj.

[24] guess? Nor. One, certes] Theobald, guesse: One certes F1. guesse: Once certes F2 F3. guess? Nor. One sure Pope.

[25] that] om. Seymour conj.

[26] I pray] Pray Pope.

[27] keech] Ketch F4.

bulk] hulk Grey conj.

[28] Surely] Yet surely Pope. Now, surely Seymour conj.

[29] his self-drawing] his self-drawn Rowe (ed. 2) and Capell. himself drawing Theobald conj. his self drawing Staunton. 's self-drawing Dyce (ed. 2). his self-wrapping Bullock conj.]

web, he gives us note] Capell. web, a' gives us note or web erecting all The building of his greatness, he gives us note Id. conj. web. O gives us note F1. web. O! gives us note F2 F3 F4. web; this gives us note Pope. web. O! it gives us note Singer. web,—O! give us note!—Knight. web. O! this gives us note, Hunter conj. web,—Oh, give it note! Keightley.

[30] gives for him, which buys] gives, which for him buys Hanmer. gives; which buys for him Warburton. gives to him, which buys Johnson conj. has given him buys for him Hunter conj. gives him, and which buys Collier MS. gives: for him which buys Jervis conj.

[31] that?... hell,] Theobald (Warburton). that, ... hell? Ff.

[32] himself] himself now Keightley.

Why] But why Hanmer. And why Capell.

[33] such To whom] such On whom Hanmer. such Too, whom Capell. such, too, On whom Keightley (S. Walker conj.)

[34] meant] means Dyce conj.

[35] and ... papers.] Erased in Collier MS.

[36] letter] letter only Hanmer.

[37] council out, ... him in he] councell, out ... him in, he F1 F2. council, out ... him in, he F3. council out ... him in, he F4. council out) ... in him he Pope.

[38] he papers] the papers Campbell. he paupers Staunton conj. he prefers Keightley conj.

[39] sicken'd] slacken'd Theobald conj.

[40] 'em] them Capell.

[41] What] And what Capell conj.

vanity] great vanity Rowe (ed. 2).

[42] communication] the consummation Collier MS. consummation Collier (ed. 2).

[43] Bourdeaux] F4. Burdeux F1. Burdeaux F2 F3.

[44] a peace] peace F4.

[45] Like it] Like't Hanmer.

[46] towards you] F1 towards your F2 F3 F4. you Pope.

[47] effect] affect Rowe (ed. 2).

[48] advise] advice F1.

[49] Scene ii. Pope. Wol.] Rowe. Car. Ff. (and throughout.)

[50] First Sec.] 1 Sec. Capell. Secr. Ff.

[51] please] an't please F3 F4.

[52] Well, ... look.] As in Ff. As prose in Rowe (ed. 1). In Rowe (ed. 2), the lines end more ... look. It is well, ... look. Hanmer, ending lines 117, 118, an't please ... more.

[53] this] F1 F2. his F3 F4.

Wolsey] Cardinall Ff.

[54] venom-mouth'd] Pope. venome mouth'd Rowe. venom'd-mouth'd Ff.

[55] book] boche Becket conj. brood Collier (Collier MS). look Staunton conj. brat Lettsom conj.

[56] chafed] chaf'd F3 F4. chaff'd F1 F2.

[57] Keightley ends the lines reviled me, ... instant he.

[58] bores] bords Becket conj.

to the] to' th' F1 F2. to th' F3 F4.

[59] full-hot] F4. full hot F1 F2 F3.

[60] by] by our F4.

[61] In seeming to] Seeming t' S. Walker conj.

[62] More] om. Pope, ending lines 145, 146 at be ... English.

[63] name] blame Johnson conj.

[64] July] Inly F1.

when] where Long MS.

[65] for ... reciprocally] Put in parentheses by Capell. (for ... perform't) ... reciprocally, Ff.

[66] ravenous] ray'nous F2.

[67] rinsing] Pope. wrenching Ff. See note (I).

[68] sir] om. Seymour conj.

[69] o' the] o' th' F1 F2. oth' F3 F4.

[70] Thus let] F1 F2. thus let it F3 F4. let it Pope.

[71] count-cardinal] court-cardinal Pope.

[72] he] om. F1. he therefore Capell.

[73] trow] F3 F4. troa F1 F2.

[74] thus] then S. Walker conj.

[75] advantage.] advantage,— Anon. conj.

[76] he] you F4.

[77] Brandon,] Marney, Capell conj.

[78] Scene iii. Pope.

[79] Hereford] Capell. Hertford Ff.

[80] lord] lord, [to Nor. Capell.

[81] Bran. I ... Tower.] Nor. I ... liberty. Bran. To look ... Tower. Anon. conj.

[82] business present] business, present Deluis.

[83] Abergavenny] Aburgany Ff.

you] ye Rowe.

[84] [To Abergavenny.] Johnson.

[85] Montacute] Mountacute Ff. Montague Rowe.

[86] Car] Court Warburton.

[87] One] And Pope, ed. 2 (Theobald).