## INTRODUCTION.

Few literary prophecies have been so strikingly fulfilled as that of “A neuer writer” who in the preface which follows the revised title of the first edition of *Troilus and Cressida* (1609) predicted of Shakespeare “when hee is gone and his Commedies out of sale you will scramble for them, and set up a new English Inquisition.” It used to be thought much to say of a book that it was worth its weight in gold, but copies of the earliest Shakespeare quartos are worth their weight in banknotes and those notes by no means for the smallest sums. Nor is this money value unreasonable. It is based, as all money values will be found to be in the case of books, on intrinsic interest, the intrinsic interest, in this case, of the plays in themselves and secondly of these early editions as such. It is enhanced, moreover, as money values must always be, if they are to exceed the ordinary, by an exceptional degree of rarity.

We may take the question of rarity first, as the more quickly dealt with. How great it is this Census itself abundantly reveals. Of the earliest quarto with which Shakespeare's name has been connected, the 1594 edition of *Titus Andronicus* (we may both hope and believe that Shakespeare's share in it, if any, was of the very smallest) only one copy is known. Of the second, the first edition of *Richard II*, three copies are recorded, two of them in solid public ownership and so presumably beyond any chance of changing hands. Of the third, the first edition of *Richard III*, there are four copies and a fragment, of which two and the fragment are unpurchasable. Of the pirated *Romeo and Juliet* of 1597 only four copies are registered, three of them publicly owned; of the better text of 1599 as many as eleven, of which no fewer than seven are in private hands. In the case of the First Part of *Henry IV* there is a fragment of four leaves, which may be the scanty remains of an entire edition published early in 1598, and three copies (two in public ownership) of the edition of that year which usually passes as the first. Of *Love's Labors Lost* reasons have been given in *Shakespeare Folios and Quartos*\* (pp. 70 sq.) for believing that a pirated first edition has entirely perished. Of the good text of 1598, which passes as the first, there are as many as ten copies, no fewer than six being in private hands. The fact that nearly as large a number of copies exist of this quarto as of Burby's edition of *Romeo and Juliet* reinforces the argument for a pirated edition of the one play as of the other having helped, by taking off the edge of the demand, to save Burby's from being thumbed to pieces. On the other hand it can only be reckoned a coincidence, though a very curious one, that the present ownership of the ten copies of the one play, and of the eleven of the other is with one exception exactly the

* Shakespeare Folios and Quartos: a study in the bibliography of Shakespeare's plays, 1594-1685. By Alfred W. Pollard. With 37 illustrations. Methuen and Co. 1909.

[ ix ]

## INTRODUCTION

Thus of these eighteen editions which, as we shall see, have great, if varying, importance for the construction of a text, the average number of copies extant is just eight apiece, and less than half of these are in private hands, though probably enough remain unregistered to bring the two classes to an equality and make the average number of copies still extant nine instead of eight.

The hypothetical pirated First Edition of *Love's Labors Lost*, if it ever existed, has left no trace behind except a possible allusion on the title-page of Burby's edition. The First Edition of *Henry IV*, Part I, is represented by a fragment of four leaves, *Titus Andronicus* by one copy, the first *Hamlet* by two, *Richard II* by three, the first *Romeo and Juliet* by four, *Richard III* by four and a bit, the *Merry Wives* and second *Hamlet* by five, *Henry V* by six. There is no seven, nor nine, nor twelve, nor fourteen, nor sixteen; otherwise from zero to seventeen all the numbers are filled. Is there any basis for a guess, or guesses, why so many more copies of some plays should have been preserved than of others? Mr. Falconer Madan, in commenting on the story of the original Bodleian copy of the First Folio, which disappeared from the library in the Seventeenth Century (it was probably sold as a duplicate when the third edition appeared in 1663) and was bought back in 1906 for £3000, found evidence of the degrees of popularity of different plays in the comparative amount of wear and tear shown by the leaves on which they were printed. We may safely invert the deduction and connect the disappearance of copies with the popularity of the plays, or (which is not quite the same thing) their vogue with the play-reading public at the moment of issue. It is noteworthy that the four quartos which everyone admits to have been pirated, the first *Romeo and Juliet*, *Henry V*, the *Merry Wives* and the first *Hamlet*, only muster seventeen copies between them, or just half the average of the First Quartos as a whole. We are not to attribute this fewness of copies to any high minded objection of book buyers to piracy, leading them to purchase copies in order to burn them, or even to burn them after they had been read, as scrupulous people might burn foreign editions of copyright novels which they had brought home to finish. We should rather remember that the pirate *ex hypothesi* always got out his edition at least a little before the time when the players would have printed the play of their own accord. If he could not effect his piracy when the vogue of a play was at its height, he must needs come in as soon as possible after this, or he would have had no temptation to take the risk of getting himself into trouble. What concerns us is that the nearer to the psychological moment his edition appeared the more likely would it be to be thumbed to pieces.

Turning to the quartos which we believe to have been printed with the players' consent we find that *Richard II*, *Richard III* and *Henry IV*, Part I, represented respectively by three, four and three copies of the first edition, went through five or six editions apiece before 1623, whereas *Henry IV*, Part II, of which nineteen copies survive, was never reprinted in quarto. It is disconcerting to find that, on the theory this suggests, so fine a play as

[ xi ]

## INTRODUCTION

the *Merchant of Venice*, of the Heyes edition of which seventeen copies survive, comes next to *Henry IV*, Part II, at the wrong end of the list. We are forbidden, however, to regard the survival of so many copies as accidental by the fact that the play was not reprinted until 1619. In the same way in the case of *Much Ado about Nothing*, of which fifteen copies are extant, we may take the absence of any quarto reprint as confirming the suggested deduction that the First Quarto was not very successful. Possibly the fact that all these three plays were published in the same year (1600) had something to do with their apparently very moderate degree of success; but the *Midsummer Night's Dream*, though it also was first printed in 1600, by which time it must have been quite an old play, was much more severely bethumbed, only eight copies surviving.

While the fact of a play being permanently popular, or the vogue of the moment, seems to have been the main cause of copies of the first edition disappearing, something must be allowed for contributory causes. A time certainly came when editions without Shakespeare's name on their titles would stand less chance of preservation than those which bore it. Again, it is only natural that *Titus Andronicus*, which was first published nineteen years before the First Folio, should have been more hardly used than *Othello*, which came out when the First Folio was already being printed. After all, moreover, "habent sua fata libelli," and into the mysteries of fate we must not pry too closely.

There is one explanation of the variation in the number of the copies surviving in the case of different plays which may be decisively rejected; that, namely, which would have us believe that fewer copies of any given play have come down to us because fewer were printed. It would be more reasonable to argue inversely and find in the scantiness of the remnant an indication that the edition which has left so few survivors was probably a large one. The bibliographers' maxim that the number of copies extant is likely to vary inversely with the number printed is indeed only a generalization from the points about popularity already noted. Large editions, low prices, popularity and careless handling all go together, and where we find one, in the case of works which have in them the possibility of success, we may look out for the others. Our information about the cost of paper and print at the end of the Sixteenth Century is not sufficiently precise to justify any positive statement, but it is probable that even if only quite a small sum, say forty shillings, were spent on obtaining the text of a play, either by bribery or purchase, unless something like a thousand copies could be sold at the customary price of sixpence apiece, the temptation to a publisher to print a full-length play of Shakespeare's would have been very slight. It is more likely, indeed, that the full maximum of 1200 copies, to which the Stationers' Company, in the interest of compositors and good workmanship, restricted an edition, was the number printed, and even if 1200 copies were sold the publisher's profit was probably well under ten pounds. From the sale of an edition of only five hundred copies he would have done little more than clear his expenses.

We pass from these money matters to the intrinsic value of the texts of

[ xii ]

## INTRODUCTION

the First Quartos, which has seldom or never been frankly admitted, even by editors who have seen the necessity of relying on them rather than on that of the First Folio as the basis of their own. If a document has once been interpreted in a particular sense and that interpretation has survived unchallenged sufficiently long for men to be educated in it, it is no small task to win acceptance for any other view. From an imperfect knowledge of the facts the reference to "stolne and surreptitious copies" in the preface to the First Folio* was taken to refer to all the quarto editions of Shakespeare's plays, though such an interpretation can only be maintained on the supposition that the publishers of the Folio were bent on damaging their own credit and property, and that Shakespeare and his fellow sharers in the Globe were more conspicuously helpless in defending their rights than any other set of Englishmen since the world began. The address "To the great Variety of Readers" in the First Folio gives no hint as to the number of the "stolne" copies to which it refers. It merely says that whereas, or wherever ("where" may have either meaning) readers had been abused by pirated editions with bad texts, even in these plays they would now find the texts sound and perfect. As the reference is to "copies" in the plural, it must relate to at least two plays, but if only two plays could be found in which the Folio editors had replaced the text of the First Quarto by a conspicuously better one, only two plays could on any reasonable interpretation be brought under the accusation of piracy. Two such plays exist in *Henry V* and the *Merry Wives of Windsor*, for neither of which was any good text in quarto ever printed. In the case of *Romeo and Juliet* and *Hamlet*, possibly also in that of *Love's Labors Lost*, an original bad text in quarto was replaced by a better one in the same form. In other plays there are divergences between the Folio and the Quartos which may be susceptible of different interpretations, but which did not prevent Malone from declaring roundly, in the Introduction to his Shakespeare of 1790, as regards the text of the plays, that "the editors of the folio, to save labour, or from some other motive, printed the greater part of them from the very copies which [according to the stereotyped interpretation accepted, alas, even by Malone himself] they represented as maimed and imperfect." Common sense would suggest that if a passage is susceptible of two interpretations, in one of which it is accurate and helpful, and in the other inaccurate and confusing, and raises difficulties of many kinds, the accurate and helpful should be preferred. But in the present case this interpretation does not seem even to have occurred to any of the bold gentlemen who have undertaken to expound so difficult a text as that of Shakespeare and yet, from an idle indulgence in the humour which delights to make out that everything is as bad as possible, have thus mischievously misrendered a simple passage in the "Address to the Readers." Malone knew from his collations what use the Folio editors had made of the Quartos, but the

* "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 iniurious 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," &c.

[ xiii ]

## INTRODUCTION

old blunder was by his time part of the Eighteenth Century Shakespearian
creed. Thus he could not get away from it, but says sweepingly of the
Quartos, in the very sentence in which he is confessing their merits, "un-
doubtedly they were all surreptitious, that is stolen from the playhouse,
and printed without the consent of the author or the proprietors."

Can Malone, or anyone else who has upheld this extraordinary theory,
ever have thought out what it involved? If all the plays of Shakespeare
published before 1623 were "stolen from the playhouse and printed without
the consent of the author or the proprietors," are we to suppose that his
works were the sole objects of attack, or were the couple of dozen other
plays acted by his company which found their way into print while he was
still in London, i.e., between 1594 and 1608, also pirated? And if all or
most of the quartos of plays acted by Shakespeare's company were pirated,
what about the rest, produced at other theatres? If the theory in its full
implications is to be maintained there must, in some years, have been a
piracy once a fortnight. If it be said that in the case of Shakespeare's
plays we have a positive statement, which does not apply to the others,
about which we may therefore adopt a hopeful agnosticism, we must recur
to our point that the positive statement as to Shakespeare's plays need apply
to no more than two of them. But let us accept the position, absurd as it is,
that only the plays performed by Shakespeare's company, and among these
only those in which he himself had a hand were singled out for attack.
This would still oblige us to believe that in the thirteen years 1597 to 1609
there were some fourteen successive piracies. Now to pirate a single play
of some two thousand five hundred or three thousand lines would be no
easy matter, unless, indeed, as Mr. Fleay once suggested in the case of
*Romeo and Juliet*, a prompter were kind enough to "throw aside" a
superfluous copy, where it could be picked up by a dishonest servant. Piracy
from the wastepaper basket, piracy by stenography, piracy by the treachery
of a "hired man,"—we can imagine all these feats to have been performed
once; but unless the players were pleased to have their plays stolen, surely
some steps must have been taken to prevent the recurrence of these thefts,
and the steps cannot have been so ineffective as to allow nearly all Shake-
speare's early plays and several of his later ones to be appropriated. Many
of these quarto editions appeared some years after the first production of
the play. Was it impossible to keep both the prompter-copy and the actors'
parts securely locked up, even when a play was not being performed? In
1597 and again in 1600 several plays by Shakespeare were published one
after the other. Were these outbursts of piracy the result of a burglary at
the theatre? The topical character of Elizabethan plays is often empha-
sized, even over-emphasized; is it not remarkable that we hear little or

* "Q2 is, according to this theory, a revised version made on a complete copy of an early version of the play, while Q1 is printed from the prompter's copy of the same early version. When the revision took place this copy would be thrown aside as worthless; and any dishonest employé of the theatre could sell it to an equally dishonest publisher, who would publish it as the play now acted." (A Chronicle History of the Life and Work of William Shakespeare. By F. G. Fleay, 1886, p. 193.) If piracies were frequent, is carelessness of the kind here supposed easily conceivable?

[ xiv ]

## INTRODUCTION

nothing about thefts of this kind in play, prologue or preface of Shakespeare's day (contemporary complaints of piracy are mainly concerned with poems or essays passed round in manuscript by men of fashion), and have to seek it in the much later prefaces of Heywood.* Surely if piracy were thus frequent some honest apprentice must have brought down his cudgel on a cheating stenographer's hand, and himself not have passed unsung.

In opposition to the theory that Shakespeare (that excellent man of business, as we have been taught to consider him) and his fellows submitted to being defrauded of their property fourteen successive times within thirteen years, it has elsewhere been contended, and will be contended as often as a hearing can be obtained, that while the pirates were able not only to get out editions of *Henry V* and the *Merry Wives*, but to convey copyright in them to their confederates, and had the profits of single editions of *Romeo and Juliet* and *Hamlet*, and possibly also of *Love's Labors Lost*, the players after each of these attacks, as also after that on *Pericles* in 1609, can be seen protecting other plays by staying notices, sometimes openly of that character, more often in the form of entries on the Stationers' Register, which while seeming to pave the way for publication were really meant to delay it. Here and now as much has been said as to this fight with the Pirates as there is space for. We must pass on from this negative and defensive support of the Quartos to claim for them positive qualities not easily compatible with piracy, and which give to them a much higher character than they have hitherto been allowed.

In the passage already cited from Malone's Introduction to his Shakespeare of 1790 that great critic wrote, with a truth only marred by his acceptance of the current application of the words "stolne and surreptitious":

"Fifteen of Shakespeare's plays were printed in quarto antecedent to the first complete collection of his works, which was published by his fellow comedians in 1623. . . . The players when they mention these copies represent them all as mutilated and imperfect; but this was merely thrown out to give an additional value to their own edition and is not strictly true of any but two of the whole number; The Merry Wives of Windsor and King Henry V. With respect to the other thirteen copies, though undoubtedly they were all surreptitious, that is, stolen from the playhouse, and printed without the consent of the author or the proprietors, they *in general* are preferable to the exhibition of the same plays in the Folio; for this plain reason, because, instead of printing these plays from a manuscript, the editors of the folio, to save labour or from some other motive, printed the greater part of them from the very copies which they represented as maimed and imperfect, and frequently from a late instead of the earliest edition; in some instances with additions and alterations of their own. Thus, therefore, the first folio, as far as respects the plays above enumerated, labours under the disadvantage of being at least

* The passages in question occur in the preface to the 1630 edition of *The Rape of Lucrece* and in "a prologue to the Play of Queene Elisabeth as it was last revived at the Cock-Pit" printed in Heywood's *Pleasant Dialogues and Drammas*, 1637.

[ xv ]

## INTRODUCTION

a second, and in some cases a third, edition of these quartos. I do not, however, mean to say that many valuable corrections of passages undoubtedly corrupt in the quartos are not found in the folio copy; or that a single line of these plays should be printed by a careful editor without a minute examination and collation of both copies, but those copies were in general the basis on which the folio editors built, and are entitled to our particular attention and examination as *first editions*.”

It is a thousand pities that Malone should not only have misunderstood the attack on previous editions in the First Folio to “represent them *all* as mutilated and imperfect,” but while having the courage to deny that any but two of the Quartos* were “mutilated and imperfect” should have abstained from denying that any but these specified exceptions were “stolne and surreptitious.” As a vindication, however, of the text of the First Quartos nothing could be better. As he says, these editions must be reckoned in general as good texts, and the main argument on this topic advanced in *Shakespeare Folios and Quartos* in 1909 was that since the good texts, with easily explainable exceptions, were regularly entered on the Stationers’ Register, and the bad texts were either not entered at all or entered irregularly, by the logical method of Agreement and Difference we are entitled to assume a causal connection between good texts and regular entries and between bad texts and irregular entries or no entries at all. This causal connection we find in the fact that an honest publisher who printed a play with the Players’ consent would naturally get as good a text as they could give him and have no reason to avoid taking it to Stationers’ Hall, whereas a dishonest publisher would naturally get hold of an obsolete or vamped up text and would fear to take it to be registered lest the Wardens of the Stationers Company should “stay” it till he was able to produce authority for printing it. In the introduction to the facsimile of the unique third quarto of *Richard II*, recently identified in the library of Mr. W. A. White of New York, this argument has been carried further and it has been shown by an analysis of the readings of the successive editions that while nothing in the text forbids us to believe that the First Quarto (1597) was set up from Shakespeare’s autograph there is at least some slight ground for believing that this was really its origin.

The two negative arguments for this contention are: (a) that the number of readings in the First Quarto rejected as erroneous by the editors of the Cambridge text (our nearest approach to a *textus receptus* of Shakespeare) being far fewer than the number of new errors introduced by the same printers in reprinting the play the next year for a second edition, the proved carelessness of the printers suffices to account for the errors of the First Quarto and it is thus superfluous, and therefore illegitimate, to assume that before it reached the printer the text had already been corrupted by being copied by scriveners; (b) that no evidence can be found either in the later Quartos or in the First Folio that the original manuscript had been used for the correction of the play as a whole, but that the good readings in

* The *Hamlet* of 1603 had not been discovered when Malone wrote. As regards the bad quarto of *Romeo and Juliet* printed in 1597, he made the necessary exception in another passage.

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## INTRODUCTION

the Folio are best explained as reaching it in the form of casual corrections on a prompt-copy. The positive arguments advanced on the same side are: (a) that some of the errors of the First Quarto suggest that it was set up not from a clean copy such as a scrivener would have made, but from a manuscript which, though generally clear, presented some difficulties, so that now and again the master-printer was driven to read it out to the compositor; (b) that the punctuation of the set speeches is a dramatic punctuation with peculiarities which, despite much carelessness, incline us to believe that it was derived from the author himself; (c) that this is true also of the method of using Emphasis Capitals. The punctuation, it is shown, is generally much lighter and the use of emphasis capitals more moderate than in the First Folio, and this fits in prettily with Shakespeare's views as set forth in Hamlet's exhortation to the players: "Speak the speech I pray you as I pronounc'd it to you, trippingly on the tongue, but if you mouth it as many of our Players do, I had as lieve the town-cryer spoke my lines."

When we consider the question with reference to other plays we find that it can be readily proved that the source of the text of most of the good quartos was a prompt-copy and that such scanty evidence as survives shows that it was not unusual for a prompt-copy to be made by the prompter writing his notes on the author's autograph manuscript. There is thus a high probability that at least some of the good Shakespeare quartos were set up from his autograph, a printed copy subsequently taking the place at the theatre of the manuscript thus destroyed and, after it had received casual correction and alterations, becoming in turn the ultimate source of the "corrected" Folio text. If this theory wins acceptance it is hoped that "probably printed from Shakespeare's autograph" may prove an adequate counter-cry to the "probably stolen and surreptitious" of so many prefaces, and the estimation of the First Quartos be correspondingly enhanced. But if we advance no further than Malone's position their importance remains very great. Malone believed that all the Quartos were in some unexplained manner "stolen from the playhouse," but that the texts thus clandestinely obtained, so far from being maimed and imperfect, were the best versions we possess of what Shakespeare wrote. This is the essential point, and to anyone who admits it, the value of these First Quartos may well seem inestimable.

When we pass from the First Quartos to the reprints of them the most ardent collector must be sensible of a notable fall in temperature. In this Census all quarto editions are included down to the publication of Rowe's Shakespeare in 1709, the first edition to which an editor put his name. All of them are of interest for the evidence which they offer of the popularity of Shakespeare in the Seventeenth Century as compared with the other playwrights of his day, and of the popularity of some of his plays as compared with others. Textually in themselves not one of them has any direct importance, with the apparent rather than real exception of the *Richard II* of 1608 in which 166 lines of the "Parliament Scene" appeared for the first time, but in a form so mutilated (almost certainly

[ xvii ]

## INTRODUCTION

put together by stenographers) that they have only the very smallest
value. There is no evidence in the case of any of these later quartos point-
ing to the original manuscript having been collated afresh in order to
improve the text, or of access having been had for this purpose to any
new one. The theory that all the quartos were stolen and surreptitious has
had this one good effect, that it has prevented editors from formally main-
taining that recourse was had to any such authoritative source, old or new,
when the later quartos were printed. Unfortunately it has not prevented
them from adopting some of the readings of these later quartos into their
own texts. Of course if these readings had been clearly marked off as
"early conjectures" the editors adopting them would have been well within
their rights. A printer's reader of Shakespeare's day was at least as
likely to make a good guess at a missing word as Rowe, Theobald or
Hanmer. But these emendations from the early reprints have been treated
as "variants," invested with an authority of their own by the dates at
which they appeared. A reprint, however, even if it appeared within a
few months of the First Edition, derives its authority exclusively from that
and cannot be set up against its source. Textually, therefore, the later
quartos in and by themselves are negligible and should be neglected, the
extent to which they have influenced the text of Shakespeare being dis-
tinctly matter for regret. Indirectly on the other hand they are of
importance as the source of a vast number of readings in the First Folio
which could never have been rightly appraised if the intermediate quartos
had disappeared. Each time the text of a play was reprinted new errors
were introduced and the majority of these errors were carried over from
one quarto to the next. At the threshold of the First Folio, which usually
followed the latest quarto, many of them were stopped, but many others
got through, and in some cases there is clear proof that the new reading of
the Folio is a mere botching of an error which first appears in an inter-
mediate Quarto. By the help of the quartos all these errors can be
eliminated from the Folio text, and the modern editor has nothing to con-
sider save the original readings of the First Quarto and the original read-
ings, right or wrong, introduced by the Folio. This genealogical value
of the intermediate quartos, though subsidiary in character, is very great.

As a basis for further discussion we may now present the results of this
Census as it affects the quartos which appeared between the First Editions
in this form and the First Folio in the following table.

[ xviii ]

## INTRODUCTION

John Hayward was imprisoned for his prose history of *Henry IV*, which he had too effusively dedicated to the Earl of Essex, and that in 1602 an “old play” of *Richard II* (opinions differ as to whether it was Shakespeare’s) was acted before the Essex conspirators. It is just possible that between 1598 and 1605 these happenings and the accession of a new dynasty may have created a special interest in historical plays, especially in those connected with changes of the crown, and thus account for these five editions being exceptionally hardly used.

At the opposite end of our list we have thirty copies extant of the *Henry V* of “1608,” twenty-eight apiece of the *Merry Wives* of 1619 and *King Lear* of “1608,” twenty-five of the *Midsummer Night’s Dream* of “1600” and twenty-three of the *Merchant of Venice* of “1600,” a total of 134 copies (or 132 if the two doubtful copies, Nos. 358 and 557, which have been reckoned with the majority, are excluded) giving an average of nearly twenty-seven copies of each edition. The corresponding figures for the First Editions are six, five, nine, eight and (for the *Merchant of Venice*) seventeen, a total of forty-five for the five plays, or an average of nine copies extant apiece, just a third as many as in the case of the reprints.

In Chapter IV of *Shakespeare Folios and Quartos* (1909) an elaborate argument was submitted to prove that these five plays, despite their varying dates, had all been printed and published in one volume (copies may also have been sold separately) in the same year, 1619, together with four others, viz., the *Whole Contention between the two famous houses, Lancaster and York* (n. d.), *Pericles* (1619), *A Yorkshire Tragedy* (1619) and *Sir John Oldcastle* (1600), and the fact that they had been thus preserved in exceptional numbers was an important link in the chain of evidence.* The only volume now known in which all the nine plays are still found together is that in the library of Mr. Marsden Perry of Providence, R. I., bearing the stamp of the Seventeenth Century collector EDWARD GWYNN. But a similar volume belonging to Mr. Hussey was only broken up in 1906 and others must have belonged to Capell, Garrick and other early collectors.

The arguments put forward in *Shakespeare Folios and Quartos* to prove that all the nine plays were printed in 1619 were numerous and elaborate. They started with Mr. W. W. Greg’s demonstrations from the watermarks, devices and large numerals on the title-pages, and followed up with others based on the short imprints on the titles, on the types, on the spelling, on the number of copies extant, on an entry as to the *Merchant of Venice* in the Stationers’ Register in 1619, and on the hitherto unexplained continuity of the signatures of the undated *Whole Contention* and *Pericles* of 1619. The chapter was well received by reviewers, but Mr. Alfred Huth preferred an earlier theory of the same writer’s, which accepted the dates on the title-pages as truthful and supposed that new and

* The number of copies of the five plays at that time known to Mr. G. W. Cole, the Cataloguer of the Church collection, who had made a special study of the question, was 105, or an average of 21 apiece.

[ xx ]

INTRODUCTION

old copies had been bound up for sale in 1619 by way of clearing off
"remainders," and the arguments which he advanced in the *Library* for
January, 1910, though they were not left unanswered, were quite impres-
sive. In October, however, of the same year, Mr. William J. Neidig,
an instructor in English in the University of Wisconsin, in articles in
*Modern Philology* and the *Century Magazine*, by a composite photograph
in which the *Merchant of Venice* of "1600" was superimposed on the
*Pericles* of "1619" proved that the words "Written by W. Shakespeare,"
the "Heb Ddieu heb Ddim" device and the word "Printed" came in exactly
the same positions in each title-page, and pointed out also identical flaws
of one kind in the W of "Written" and of another kind in the W of Shake-
speare's initial in each case. It was thus made certain that portions of
the title-page of *Pericles* had been used over again in the title-page of the
*Merchant of Venice*, without having been shifted in the form, and the
impossibility of the two editions being separated by nineteen years was
demonstrated in a manner appreciable even by readers with no bibliо-
graphical training. In this Census the falsity of the dates 1600 on the
*Merchant of Venice* and *Midsummer Night's Dream* and 1608 on *King
Lear* and *Henry V* has thus been regarded as definitely proved, the correct
date, 1619, being added in each case in brackets.

It is obvious that editions printed for inclusion in a stout quarto volume
are in a much better position for resisting wear and tear than those issued
separately in paper wrappers. These five editions thus stand in a class by
themselves. If we deduct them and the number of copies of them still
extant from the totals of these Intermediate Quartos given above, we
get 169 extant copies to be divided among twenty-one editions, or the same
average of eight apiece as in the case of the First Quartos. These 169
copies, it is interesting to note, are divided between public and private col-
lections, giving totals of a little over eighty and an average of four to each.
We now give our final table of editions.

[ xxi ]

## INTRODUCTION

as these have their distinct line of descent and owe nothing to the late
quartos. Their only, yet quite dignified, justification for existing is the
testimony they bear to the extent of Shakespeare's popularity with the
class of bookbuyers who preferred "books of the play" to complete editions.
From this point of view it would be pleasing if more of them, or (as
would serve as well) indisputable traces of more of them, even though
lost, could be discovered. The unsold copies of the 1637 edition of the
*Merchant of Venice* were reissued with a new title-page in 1652; an edi-
tion of *Henry IV*, Part I, was printed as late as 1700; otherwise, not only
all the comedies which had never had large sales as separate quartos, but
all the histories, which had been so popular right up to 1623, were in the
eyes of the owners of the copyright no longer worth producing separately
after 1639. What may be called Shakespeare's permanent, as distinct
from his contemporary, popularity begins with the revival of his tragedies
in the last quarter of the Seventeenth Century. In the long interval there
had been some haphazard editions, an *Othello* in 1630 and another in
1655 and a *Hamlet* in 1637. *Macbeth* was separately printed for the
first and only time in the Seventeenth Century in 1673. But between 1676
and 1705 there were seven editions of *Hamlet*, six of *Julius Caesar* and
four of *Othello*, and this betokens a notable, if limited, revival. Other
plays, as we know, were more or less popular, in more or less irreverent
adaptations.

Meanwhile the four large Folio editions were being absorbed, one after
the other, by the literary readers of Shakespeare, and here and there we
find anticipations of the respectful treatment of the quartos which in our
own day has ripened till they occupy an inner shrine in the book-collector's
temple. In 1627 William Drummond presented copies of the 1598 Love's
*Labors Lost*, 1599 *Romeo and Juliet* and some other plays to Edin-
burgh University. In 1649 the Second Earl of Bridgewater entered in
the catalogue of his library copies of these same three editions and of
the *Richard II* (second edition) and *Richard III* of 1598, *Henry IV*, Part
I, of 1599, and *Henry IV*, Part II, *Merchant of Venice*, *Midsummer
Night's Dream* and *Much Ado about Nothing* of 1600, a very pretty little
nosegay to have been originally acquired for a crown, but which it is
pleasing to find not thought unworthy of cataloguing on that account.
Why, a little later on, Pepys did not add to the delight of his library by
doing his best to collect a complete set of the quartos is hard to guess. A
later benefactor made good the loss to Cambridge, but a picked set of
Shakespeare quartos in Pepys' bindings would have been a very pleasant
addition to the good things of the world.

Probably if Pepys had started on the quest of our quartos he would not
have acquired more than a haphazard selection of them, for when books
are still purchasable for pence there is little temptation to owners to
ransack their libraries or lumber rooms to see if they have any to sell.
It is only fair to the Eighteenth Century editors to remember that the
Quartos have only come somewhat slowly and capriciously to light. When
Pope was completing his edition of Shakespeare he very properly added

[ xxiii ]

## INTRODUCTION

library of Mr. W. A. White of New York, which with sportsmanlike promptitude he has caused to be reproduced in facsimile.

Early editors of Shakespeare expected their book-collecting friends to lend them their quartos, but Pope possessed some of his own and these according to Malone (see his note quoted under No. 573) were sold in David Mallet's sale on 10 March, 1766. The printed catalogue offers no corroboration of this statement, but in the auctioneer's copy, preserved in the British Museum, at the end of a section of "Plays in quarto" there is a manuscript entry: "Shakespeare. 2 vol. 3.3.0." No doubt these were Pope's copies, and the two volumes, according to the practice of Eighteenth Century binders, may have contained a dozen or more pieces. The three guineas realized must be considered a fair price, since other volumes of early plays fetched only a few shilling apiece, though the 1575 edition of *Gammer Gurton's Needle*, with the help of a separate entry and italics, had a few minutes before been worked up to as much as 7s. 6d. Lewis Theobald, Pope's critic and successor in editing Shakespeare, must have had a good many of the later quartos among the 195 old plays* which he left behind him, as there were at least three with his collations in the Dodd sale of 1797-1798, one of which, the 1637 *Hamlet*, is now in the Dyce Collection with a quaint reference to Theobald by a subsequent owner. His copy of the *Merchant of Venice* of "1600" [1619], moreover, was No. 1279 in the Steevens sale. But the plays not being "set out" in the catalogue of his sale in October, 1744, what others he owned cannot here be stated. As for Warburton it was he who put Pope's quartos into Mallet's sale in 1766, so probably these were all he possessed. Thus Edward Capell seems to have been the first editor-collector of Shakespeare quartos on a large scale, and certainly made a very diligent use of them. In his edition of "Mr. William Shakespeare his Comedies, Histories and Tragedies, set out by himself in quarto, or by the Players his Fellows in folio, and now faithfully republish'd from those editions" he speaks of having been at work on it for over twenty years. He may have begun collecting at a still earlier date, perhaps in 1737, when he was appointed deputy inspector of plays. In June, 1779, nineteen months before his death, he handed over his Shakespeare collection to Trinity College, Cambridge. As recorded in Mr. Greg's catalogue of this, the quarto editions of the plays number just fifty, of which as many as fourteen, according to our classification, rank as first editions, making up a complete set save for the *Hamlet* of 1603, the 1597 and 1599 editions of *Romeo and Juliet*, the *Titus Andronicus* of 1594 and the later variant of the *Henry IV*, Part II, and earlier of *Troilus*. It must be said also that the collection is not only the fourth in order of importance, but one of the pleasantest to handle, the plays being bound together in convenient volumes in Eighteenth Century brown calf and in size averaging about seven and one fourth by five and one eighth inches. The nine plays of the volume of 1619 all appear in this collection, divided between two volumes, but with the uniform size,

* Not 295, as stated in the article "Theobald" in the Dictionary of National Biography.
A copy of Theobald's Catalogue is in the Bodleian Library.

[ xxv ]

## INTRODUCTION

seven and one half by five and five eighths, and standing together as Q 11 and Q 12.

The credit of being the first to collect plays and present them to an important library does not belong to Capell, and though he only missed it by a few months, it is probable that he was an imitator rather than an initiator. The Capell collection was accepted by the Masters and Seniors of Trinity College on 11 June, 1779. On the twentieth of the preceding January David Garrick had died, bequeathing, by a will made 24 September, 1778, all his "collection of old English plays to the Trustees of the British Museum for the time being for the use of the public." Garrick and Capell were old friends and though they were estranged towards the end of their lives, it seems likely that Capell's presentation was inspired by Garrick's bequest. The Shakespearian portion of this is markedly inferior to Capell's, comprising a total of thirty quartos as against fifty, and only five first editions as against fourteen. Moreover, save for the plays of the volume of 1619, which measure over seven and one half by five and three quarter inches, the copies as a rule are not as good as Capell's either as to size or as to condition. None the less the collection was a very valuable one, or rather a very valuable part of a bequest to the total importance of which only Charles Lamb, who made such fine use of it, could do full justice.

Perhaps we may anticipate a little and having described the nucleus of the British Museum collection of Shakespeare quartos complete our account of its formation. The first addition to Garrick's bequest was that of twenty-two quartos, comprising six first editions, which formed part of the library of King George III and came to the Museum in virtue of an arrangement between his successor and the British Government. These also were for the most part rather poor copies, the King's librarian having apparently considered it much more important to secure spotless copies of books printed in the Fifteenth Century than of the first editions of Shakespeare. Up to this time, indeed, and beyond it, the great libraries and most of the great collectors thought it beneath their dignity to concern themselves with anything of Shakespeare except the Folios, neither Mr. Cracherode nor Mr. Grenville ever buying a play of his in quarto, though the latter admitted some of his poems. It may even be doubted whether, except more or less accidentally, any of the quartos entered any great library by purchase until Antonio Panizzi bought the Jolley copy of the *Richard II* of 1608 (first issue) in 1845. His successor, Mr. John Winter Jones bettered this instruction by spending a thousand pounds in November, 1858, to such good advantage that leave has been obtained to quote the invoice in full. Here it is:

[ xxvi ]

INTRODUCTION

THE TRUSTEES OF THE BRITISH MUSEUM

DRS. TO J. O. HALLIWELL, ESQ.

<table><tbody><tr><td>1.</td><td>The first edition of Hamlet, 1603.</td><td rowspan="16">£1000 0 0</td></tr><tr><td>2.</td><td>The famous victories, 1617.</td></tr><tr><td>3.</td><td>Richard the third, 1598.</td></tr><tr><td>4.</td><td>Sheet E of Henry IV, 1600.</td></tr><tr><td>5.</td><td>Pericles, 1611.</td></tr><tr><td>6.</td><td>Richard the third, 1605.</td></tr><tr><td>7.</td><td>Pericles, the novel, 1608.</td></tr><tr><td>8.</td><td>The first edition of Lear, 1608.</td></tr><tr><td>9.</td><td>Another copy with textual variations.</td></tr><tr><td>10.</td><td>Henry IV, 1608.</td></tr><tr><td>11.</td><td>Romeo and Juliet, 1609.</td></tr><tr><td>12.</td><td>Henry IV, 1613.</td></tr><tr><td>13.</td><td>Another copy with textual variations.</td></tr><tr><td>14.</td><td>Pericles, 1630. The imprint unique.</td></tr><tr><td>15.</td><td>The first edition of Sir J. Oldcastle, 1600.</td></tr><tr><td>16.</td><td>The first* edition of Troilus and Cressida, 1609.</td></tr><tr><td>17.</td><td>Richard the third, 1634.</td></tr><tr><td>18.</td><td>Richard III, 1622.</td></tr><tr><td></td><td></td><td>£1000 0 0</td></tr></tbody></table>

For various reasons the name of Halliwell-Phillipps is not held in great
-esteem by librarians, but there can be no doubt that in this instance he
did, and meant to do, the British Museum a great service, and the tran-
saction was equally creditable to him and to Winter Jones, who further-
more carried off one of the most expensive first quartos, that of Love's
*Labors Lost*, from the Daniel sale in 1864. After this there seemed but
little chance, as prices continued to rise, that the Museum set would ever
be made more complete, but in 1910 Mr. Alfred Huth's bequest added the
three important editions which were lacking, the *Richard II* and *Richard
III* of 1597 and *Merry Wives* of 1602 (all Daniel copies). By the addi-
tion of these the Museum has now, with the exception of the doubtfully
Shakespearian *Titus Andronicus*, the text of all the plays issued in quarto in
the first editions, though it lacks the variant title-pages of the *Hamlet* of
1604 and the *Richard II* of 1608, if the inclusion for the first time of the
Deposition scene justifies the reckoning of this last among first editions.

Returning to the Eighteenth Century we find ourselves still mainly con-
cerned with the professed students of Shakespeare and his dramatic ex-
ponents, though other collectors begin to appear. Few of the sales are
interesting to us, as most of the entries of Shakespeare quartos are either
of plays from the volume of 1619, or late editions published after the
First Folio. Thus the Rev. Thomas Crofts (sale in 1783) had six of the
plays of the volume, a *Titus Andronicus* of 1611 and *Richard II* of 1615.
Major Thomas Pearson (sale in 1788) had a *Richard III* of 1612, un-

* The second issue, with the preface, which Halliwell mistook for the first.

[ xxvii ]

## INTRODUCTION

of the old volumes has been destroyed. On 1 January, 1801, however, the author of all this havoc surveyed his collection in a very complacent mood. He first wrote out "A List of the various Quarto editions of Shakespeare's Plays, hitherto discovered," adding a star to those of which he had copies and asserting roundly "the later editions of these quartos are of no value whatsoever," a verdict which he repeated successively with special reference to the 1631 *Love's Labors Lost*; 1630 *Merry Wives*; 1637 and 1652 *Merchant of Venice* and 1655 *Othello*. The *Hamlet* of 1603 was as yet undiscovered, also the *Othello* of 1630, while Malone seems to lump together the *Titus Andronicus* of 1594 and 1600, but leaves both of these out of his reckoning on the ground that the play is not by Shakespeare. He then proceeds complacently: "This collection of Shakespeare's Plays and Poems in seven Quarto volumes (with which several pieces on which he constructed dramas, bound up among my *Shakesperiana*, must be considered as connected) forms perhaps the most complete Assemblage of the early editions of his productions that has ever been made. It wants only the *Hamlet* of 1604, *King Richard II*, 1597, *King Henry IV*, Part I, 1598, and *Venus and Adonis*, 4to, 1593, to make it complete, and of those three plays it contains very early copies, carefully collated with those original editions, and of the fourth piece (the *Venus and Adonis* of 1593) no copy was ever seen by any of the collectors of these precious rarities, or is now known to exist, though I have no doubt that at some future time it will be discovered.

"Having now finished my collection, and amassed as many ancient editions of this great author's pieces as I shall probably* ever be able to procure, which I have bound up in such a manner that they shall be forever preserved, I have been led to compare it with other similar assemblages."

He then proceeds to compare it with the editions mentioned by Pope (this in a note), and with "1. Mr. Capell's, now preserved in the Library of Trinity College, Cambridge; 2. the late Mr. Steeven's, now dispersed; 3. that formed by the late Mr. Garrick, preserved in the Museum; 4. the collection of Mr. Kemble of Drury Lane theatre, and 5. that of the late Mr. Jennings of Gopsal in Leicestershire, now the property of Lord Curzon." From the standpoint here adopted he could claim no more than an equality with the Capell collection which, while it also lacked the *Hamlet* of 1604 (and 1603), possessed the 1597 *Richard II* and 1598 *Henry IV* as against his 1597 *Richard III* and 1599 *Romeo and Juliet*. Over the other collections his superiority was marked. That of Steevens contained nothing which Malone had not, and lacked three genuine plays which he had; the Garrick as against its inclusion of *Henry IV* lacked six other plays; the Kemble as against the 1604 *Hamlet* and 1597 *Richard II* lacked four genuine plays, and the Jennings as against the 1604 *Hamlet* wanted as many as nine others which Malone possessed.

* "Probably" is interlineated. The *Venus and Adonis* of 1593 Malone himself acquired in 1805. The following further additions have been made to the collection: *Henry IV*, 1608, 1622; *Merchant of Venice*, 1637; *Richard II*, 1634; *Richard III*, 1598, 1622, 1629, 1634; *Romeo and Juliet*, 1609 and n. d.

[ xxx ]

## INTRODUCTION

Edmund Malone on his death in 1812 bequeathed all his collection, manuscript and printed, to his brother, Lord Sunderlin, with unfettered discretion as to the disposal of it. Ten years later it was presented by Lord Sunderlin to the Bodleian, of which it is one of the many glories.

In 1821, almost contemporaneously with the Malone collection being transferred to Oxford, John Philip Kemble, the famous actor, sold for £2000 to the Duke of Devonshire a great collection of plays, including an important set of Shakespeare quartos, which he had brought together in imitation of Garrick and cropped and mounted in imitation of Malone. It was this collection, which with some added quartos, including the better of the two known copies of the 1603 *Hamlet*, was sold by the present Duke to Mr. Henry E. Huntington in 1914, thereby raising the latter's collection to the very front rank where only that of the British Museum can challenge, and that doubtfully, its claim to pre-eminence.

After the transference of the Malone and Kemble collections the next important event for us was the second Heber sale in June, 1834, which included fourteen First Editions, but lacked both the *Hamlets* of 1603 and 1604, *Richard II* of 1597 and both issues of 1608, *Henry IV* of 1598, *Titus* of 1594 and one issue of *Troilus*. In Part 4 of the Sale, held at Evans's in December of the same year, duplicates were sold of the *Midsummer Night's Dream*, *Merchant of Venice*, *Henry IV*, Part II (4 leaves) and *Lear*, while there were altogether over a score of second and later editions ranging in date between 1598 and 1655, besides a good set of the spurious and doubtful plays. Altogether Heber's collection of Shakespeareana must be reckoned as fine a one as had yet been got together, and it is interesting to note that £41.9.6 for the *Richard III* of 1597 was the highest price paid for any of the plays.

Compared to Heber's the Shakesperiana in the Jolley sale of 1844 were unimportant and we may pass on to 5 May, 1847, to look over the shoulder of George Daniel at his house at Canonbury with a newly acquired copy of the 1597 *Richard II* before him into which he proceeds to write the following note, surely the prettiest piece of humour in the annals of bibliography:

"King Richard 2: Valentine Simmes for Andrew Wise. 1597, of most excessive rarity. In no collection of which I am aware not even in that of Mr. Heber."

Dr. Dibdin, who is so often incorrect touching the first quartos of Shakespeare; (he gave to Sir Francis Freeling the 4to King Lear printed by Nathaniel Butter and are to be sold at his shop in St. Paul's &c., viz. the *first*, when the worthy Baronet had only a very indifferent copy of the *second*: and to Mr. Heber the *first* edition of Romeo and Juliet instead of the *second:*\* to say nothing of his assertion that the second edition of Venus and Adonis bears the date 1596 instead of 1594; and of his calling

\* According to his sale catalogue Heber had both, though the 1597 edition lacked the title and was otherwise undesirable.

[ xxxi ]

## INTRODUCTION

the edition of 1602 the 3d instead of the 4th &c &c) Dr. Dib-din is in the above statement perfectly *right* . . . This edition of *Richard 2d is* UNIQUE.

George Daniel: 1847. Canonbury.

Surely no barrister can have first vilified a witness and then accepted his evidence with such delightful unexpectedness, and the jest is the prettier because the unhappy Dibdin was not "perfectly right" in his statement that this *Richard II* was unique, as copies existed, and exist, in two such well-known and accessible collections as the Capell at Trinity College, Cambridge, and the Malone at the Bodleian.*

This beginning of Daniel's note has been quoted for the mere joy of it. What follows is more to our purpose, for this is a list of eleven "first editions" (including *Pericles*), headed by four of the very rarest, those of *Richard II*, *Richard III*, *Love's Labors Lost* and the *Merry Wives*, which in turn are followed by the *Midsummer Night's Dream*, *Henry V*, *Much Ado*, *Merchant of Venice*, *Troilus*, and *Othello*, and among Second Editions by the 1599 *Romeo and Juliet* which textually must count among the Firsts. With these are other early editions of plays and poems, first editions of the spurious plays, "the finest and most genuine copy known" (no vain boast) of the First Folio, and "sound, large and most beautiful copies" of its three successors. Finally comes the statement: "The above Volumes quite perfect and in fine, very many in most beautiful and all but uncut condition are in my possession," with the signature "George Daniel, Canonbury, May 5, 1847," and then we may imagine that Mr. Daniel put down his pen and felt very happy indeed.

At his sale in 1864 the four quartos to which he had given the pride of place fetched from 325 to 335 guineas apiece, prices which long remained records. The *Love's Labors Lost* was carried off by the British Museum, the other three became the property of Mr. Henry Huth, and by the liberality of his son also found their way to the Museum in 1911, thereby giving to its collection a degree of completeness which had seemed past hoping for, and enabling its officials to rejoice, without any pang, at the prospect that one day some great American library may be equally fortunate.

The passage of a full half of the extant Shakespeare Quartos across the Atlantic which was beginning very quietly about this time is the only chapter in our story which still remains to be told. In 1869 Alexander Dyce bequeathed to the South Kensington (now the Victoria and Albert) Museum, as part of his valuable library, a little collection of quartos, mostly late, but including three or four first editions. In 1872 Halliwell-Phillips made an addition of some importance to the quartos presented by Drummond to Edinburgh University in 1627. The gatherings of other English collectors since George Daniel have all, or nearly all been harvested

* A doubt seems to have crossed Daniel's mind for later on he added in a smaller hand the qualification "but (I believe) for a copy in ye library of ye Earl of Ellesmere," which did not make matters any better.

[ xxxii ]

## INTRODUCTION

in the United States, and it is with the story of the American collections that they may best be fitted in.

The honor of being the first American collector* of Shakesperiana belongs to Thomas Pennant Barton, who was born in Philadelphia in 1803 and began collecting about the time of the Heber sale in 1834, and continued adding to his stores until a year or two before his death in 1869. Fortunately his library, by the liberality of his widow, was sold, at a price much below its market value, to the City of Boston, and remains intact in the Boston Public Library, an excellent monument to his skill, the usefulness of which is much increased by an unusually good catalogue. Barton was a scholar and a student, and when he could not afford originals he supplied their places with the best reprints he could procure. But his originals included First Editions of the *Merchant of Venice*, *Midsummer Night's Dream*, *Much Ado about Nothing* and *Othello* (mostly Heber copies), a dozen of the second and later editions issued before the First Folio (including the earlier *Richard II* of 1598 and a set of the 1619 plays) and a considerable number of the later Seventeenth Century editions to which he seems to have paid special attention.

While Mr. Barton spread his purchases over many years, Mr. Lenox acquired all his Shakespeare Quartos by a single transaction of which we may quote the account given by the seller, Mr. Henry Stevens of Vermont in his "Recollections" of his celebrated customer:

> A large part of 1855-1856 Mr. Lenox spent in Europe and picked up rare books wherever he met with them. . . . He had set his heart on "the four folios," and by changing and chopping about, besides having secured the famous Baker copy, he had secured nearly all the variations known, including all the variations of the third folio of 1663. But I could never induce him to invest in the Shakespeare quartos until December, 1855. I then offered him while he was still in Paris in one lump about forty of the quartos, all in good condition and some of them very fine, for £500, or including a fair set of the four folios, for £600. This offer upset his previous resolutions, and he bought the whole, thus becoming at one step, the possessor of perhaps the finest Shakespearian collection then in private hands.

> An exact list of the quartos will enable an expert to judge of the prices compared with what such a collection would bring now. They were, *Merry Wives*, 2nd and 3rd editions, 1619 and 1630; *Midsummer Night*, 2nd, Roberts, 1600; *Loves Labor's Lost*, 2nd, 1631; *Merchant of Venice*, 1st, 2nd, 3rd and 4th editions, 1600, 1600 Roberts, 1637, 1652; *Taming of the Shrew*, 1st edition, 1631; *Richard II*, 4th and 5th editions, 1615, 1634; Henry

* Thomas Jefferson possessed the plays of the volume of 1619, which entered the library of the University of Virginia in 1853, by gift of his nephew, Thomas Mason Randolph, and were destroyed by fire in 1895. If he had bought the plays separately he might have qualified on them as an anticipator of Barton, but as he possessed only these he must be supposed to have picked them up as a volume, and one volume does not make a collector!

[ xxxiii ]

## INTRODUCTION

IV, 2nd, 5th and 8th editions, 1599, 1613, 1639; *Henry V*, 3rd edition, 1608; *Richard III*, 4th, 7th and 8th editions, 1612, 1629, 1634; *Romeo and Juliet*, 5th edition, 1637; *Macbeth*, 1st edition, 1674; *Hamlet*, 4th and 7th editions [1607], 1637; *Lear*, 1st and 3rd editions, 1608, 1655; *Othello*, 1st, 2nd and 3rd editions, 1622, 1630, 1655; *Pericles*, 3rd and 5th editions, 1619, 1635; *Henry VI*, 2nd part, 4th edition [1619], and 3rd part, 3rd edition [1619]; *Sir John Oldcastle*, 1600; *Lord Cromwell*, 1602, unique; *Yorkshire Tragedy*, 1619; *Rape of Lucrece*, 16mo, 1616; *Birth of Merline*, 1662; *The Puretaine*, 1607; *The London Prodigal*, 1605; and two or three others, besides the four folios, all for £600! He was greatly pleased with his bargain, but I could never tempt him to go further in the Shakespeare quartos.*

The value of this haphazard collection had no doubt increased greatly at the time that Stevens wrote, and now that another thirty years have passed has increased greatly again, but to suggest that in 1855 it was "perhaps the finest Shakespearian collection then in private hands" suggests either a curious ignorance or still more curious bluff.

In May, 1856, Halliwell sold at Sotheby's a first edition of the *Merchant of Venice*, a *Richard II* of 1598, half a dozen plays from the volume of 1619, and a dozen later editions, and a twelvemonth later a smaller but rather nice lot of quartos which included first editions of *Much Ado* and *Henry IV*, Part II; in 1858, as we have seen, he sold a much more interesting collection, including a *Hamlet* of 1603, to the British Museum; gave another lot to Edinburgh University in 1873; and still had a few to sell in 1889; while a further collection of "Rarities" passed in 1897 to Mr. Marsden Perry of Providence, R. I. In 1864 came the sale of the Daniel collection already described from his own memorandum of 1847. At this Mr. Henry Huth was the chief purchaser. He was then mid-way in his career as a collector, and before his death in 1878 had brought together a fine set of Shakespeare Quartos, including the *Hamlet* of 1604, *Henry IV*, Part II (six leaves), *Henry V*, *Merchant of Venice*, *Midsummer Night's Dream* of 1600, *Othello*, 1622, *Richard II*, 1597 and 1608 (first issue), *Richard III*, 1597; *Romeo and Juliet*, 1599, and the second issue of *Troilus and Cressida*, besides a complete set of the plays of the volume of 1619, in the discussions as to which his son joined in an article in *The Library*. Most of his copies were in very fine condition, and the Elizabethan Club of Yale has abundant cause to be grateful for the munificence which secured them so fine a set intact, save for the three which passed to the British Museum.

In 1871 came the sale of the sixth part of the collection of the Rev. Thomas Corser, which was somewhat less strong in Shakespearian Quartos than might have been expected; in 1874 that of Sir William Tite, the well-known architect, and at this the chief buyer of Shakesperiana was

* Henry Stevens: Recollections of Mr. James Lenox, 1886, pp. 47 sq.

[ xxxiv ]

## INTRODUCTION

Frederick Locker, a collector of exceptional taste and judgment, by the aid of which, though he never spent any very large sums on his hobby, he brought together a charmingly compact collection of early editions of English poems, essays, novels and plays, which rightly enjoyed a reputation far in excess of its pecuniary cost. Among his Shakesperiana were both the issues of the *Henry IV*, Part II, of 1600, besides the *Henry V*, *Much Ado*, and *Merchant of Venice* of that year, the *Romeo and Juliet* of 1599, the second issue of *Troilus and Cressida*, and a good many of the intermediate quartos, including all those of the volume of 1619. His eldest son Godfrey proved himself worthy of his father, in the first instance by the skill with which he added to the English treasures which he inherited a similar collection of foreign ones, and secondly by the pluck with which he parted with both sections of his library at a call to which Mr. Locker himself would certainly have responded in the same way. One of the issues of the *Henry IV*, Part II, was first sold at Sotheby's in 1904, and the following year the whole collection was bought by Dodd, Mead & Co. by arrangement with Mr. E. Dwight Church, who took from it all the books he wanted, leaving the rest in the hands of the firm. The *Midsummer Night's Dream* of 1600 thus found a home in Stratford-on-Avon, and a *Titus Andronicus* at Providence, R. I., but the bulk of the Shakesperiana was retained by Mr. Church and passed after his death to Mr. Henry E. Huntington, who also acquired in January, 1914, from the present Duke of Devonshire the famous Kemble collection of plays purchased by the Sixth Duke in 1822 for £2,000. Most of the other Shakesperiana which have been on the market during the last thirty years have drifted into the possession of Mr. Folger, whose appetite for them appears to be insatiable. It, perhaps, reached its maximum in the year 1907, in the course of which he acquired the so-called "Halliwell Rarities" sold in 1897 to Mr. Marsden Perry, the quartos belonging to Bishop Gott, and those of Lord Howe (bequeathed in 1773 to his ancestor W. P. A. Curzon by Charles Jennens). In or about 1907 Mr. Folger also acquired the "Jonas" quartos. Before this he already, it is believed, possessed quartos which had belonged to Messrs. Griswold and Kalbfleisch, and probably also a set from Warwick Castle, as to the original provenance of which information has not been obtained, though their dates suggest the modern auction-room rather than early possession. Most of these purchases en bloc yielded Mr. Folger one or more valuable editions, though all the Jonas quartos were of 1619 or later, and the best of the Kalbfleisch was a *Richard II* of 1598. Among the Griswold copies was a *Much Ado* of 1600; among the Warwick a *Romeo and Juliet* of 1599 and *Merchant of Venice* of 1600, nothing else being earlier than 1608; among the "Halliwell Rarities," a fragment of what may be the first edition of *Henry IV*, another *Merchant of Venice* and a *Love's Labors Lost* of 1598 and *Lear* of 1608; among the Gott quartos, a *Midsummer Night's Dream* of 1600, and other copies of *Love's Labors Lost* and of the second *Romeo and Juliet*; amongst the Howe books an *Othello* of 1622, *Richard III* of 1597 and *Hamlet* of 1604 (a great prize), besides a third *Romeo and*

[ xxxv ]

## INTRODUCTION

Juliet of 1599 and a second *Richard II* of 1598 and *Lear* of 1608. A few quartos seem to have been bought singly at various auctions or taken over from booksellers who so purchased them, and in 1905 Mr. Folger acquired through Messrs. Sutheran the only known copy of the *Titus Andronicus* of 1594, which had remained in Sweden since the death of its first recorded owner, Mr. Charles Robson at Stockholm in 1794. Next to Mr. Huntington, Mr. Folger and the Elizabethan Club, the best collection of Shakespeare Quartos in the United States is that of Mr. W. A. White of Brooklyn, who owns two copies of the E 6 issue of *Henry IV*, Part II, a *Lear, Love's Labors Lost, Merchant of Venice, Midsummer Night's Dream, Much Ado, Othello, and Troilus* (second issue) in first editions, besides the 1599 *Romeo and Juliet* and 1608 *Richard II*, and many intermediate and later editions, including an apparently unique one of *Richard II* dated 1598, and reprinted from the earlier quarto of that year. The foundation of Mr. White's collection appears to have been laid at the Perkins sale in 1889. The only other collection we have space here to mention is that of Mr. Marsden Perry which is chiefly notable for its containing the one unbroken copy of the volume of 1619 now known to exist.

The passage of so many Shakespeare Quartos across the Atlantic has been deplored by an English writer as "lamentable," and interpreted by an American bibliographer as a conclusive proof "that Englishmen value their sovereigns more than literary treasures." Neither comment seems quite reasonable. What matters is that serious students of Shakespeare on both sides of the water should have easy access to the original editions necessary for the construction of his text. In England there were, and are, fine sets of these editions at the British Museum, at the Bodleian Library, Oxford, and at Trinity College, Cambridge; also supplementary sets at Edinburgh University and elsewhere. Besides these there were, twenty years ago, as many or more important editions in private hands, of which very slight use was being made. Most of these privately owned English copies are now privately owned in the United States. If they continue to be privately owned in their new habitat, the English-speaking world is no worse off than before; if they pass into public ownership it is much better off. Professional librarians must own, with some shame but more gratitude, that the great treasures in the world's libraries are only to a very small extent of their buying. Shakespeare Quartos are too expensive for any public library to buy nowadays, and the curious thing is that they always have been too expensive for any public library to buy, even when they were obtainable for a few pence. It is to the imagination, the foresight, the pluck of the private collector that libraries in the British Isles owe 90 per cent of their finest treasures. As a rule the most that the professional librarian has done has been to fill up gaps. In the United States the movement is gaining strength, which in Great Britain Wm. Drummond anticipated when he gave his Shakespeare Quartos to Edinburgh University, which Garrick inaugurated, and Capell, Storer, Malone, Dyce, Halliwell and Huth continued. The United States is not

[ xxxvi ]

INTRODUCTION

going to remain forever with the Barton collection at Boston, and the
Lenox collection at New York as the only Shakespeare Quartos (there is
one at the Library of Congress) which a student can see without obtaining
an introduction to a private owner.

The present Census is in a manner a celebration of a gift to a corpora-
tion which plays its part in a great university, and it needs no prophet to
be sure that the movement will continue, nor can any wise Englishman wish
that it should be stopped by any refusal of English private owners to sell in
order that as many Shakespeare Quartos as possible may be kept in the
British Isles. Now and again old books, as in the case of the Bridgewater
quartos, may have stayed so long in the same family that, unless they are
urgently needed elsewhere, it becomes an impiety to sever the connection.
But as soon as the ardor of collecting wanes the possession of rare books
becomes a burden, and if they are of the intrinsic interest and importance
of the early Shakespeare quartos, a very heavy one. Here, indeed, is a
kind of property which brings with it the maximum of duties and the
minimum of rights. In the Sixteenth Century rich men were content to
be public institutions, and thought that to maintain a great library and
show patient hospitality to scholars desirous of using it was no ill way
of acquiring merit. But the pleasure of being a public institution has long
since palled, even upon dukes, and why should a man play dog-in-the-
manger with Shakespeare Quartos when others are yearning to present
them to public libraries where they are sorely needed?

The following two tables will show at a glance the present ownership:
(1) of the early quartos which rank as First Editions, (2) of the inter-
mediate quartos printed before 1623 and necessary for the understanding
of the First Folio.

[ xxxvii ]

## INTRODUCTION

In the first of these tables the 1608 *Richard II* has been included with some reluctance, as although it gives the first edition of part of the Deposition Scene this hardly entitles it to rank with first editions of whole plays, still less by virtue of its alternative titles to rank as two. In this case, however, as in those of the *Hamlet* of 1604-1605, the *Henry IV*, Part II, of 1600, and the *Troilus* of 1609, whether the two issues are counted twice or not, as it chances, makes no difference to the order of precedence of the chief collections. At the head of this come the British Museum and Mr. Huntington, each only lacking the doubtfully Shakespearian *Titus Andronicus* of 1594 and two variant titles. Mr. Huntington has nine duplicates against six owned by the Museum, and from a textual standpoint this gives him a slight advantage; on the other hand the cropping and mounting of the Kemble plays would probably make most collectors prefer the Museum set. The Bodleian and Capell collections follow some little way behind, and then come Mr. Folger, the Elizabethan Club, and Mr. White. The total number of copies here registered as on the English side of the Atlantic is seventy-seven and on the American seventy-eight.

As regards our second table the benefit of the doubt has been given to the undated *Hamlet* and *Romeo and Juliet*, though some bibliographers place them as late as 1630. As Mr. Huntington is the only possessor of copies of both the title-pages of the *Romeo and Juliet*, this is in his favor and gives him a total of twenty-three against twenty-one in the British Museum, while Mr. Huntington has sixteen duplicates and the Museum fourteen. The Bodleian and Capell collections each have twenty-one editions, Mr. Folger being fifth with sixteen editions and twenty-five duplicates, mostly of plays of the volume of 1619.

The total of the copies in American hands is again a little larger than those registered as in British collections, although as it is probable that there are more unregistered copies in Great Britain the difference either way is very slight. In the third section, of editions after 1623, in which English collectors have taken little interest, the American predominance is more marked.

A few notes and explanations remain to be added. The scope of our researches has been determined for us by the earlier work of Sir Sidney Lee, who has already dealt with the First Folio and with *Pericles* and the Poems. Our limit has been taken at 1709, the year of the publication of Rowes text, the first which bore an editor's name. This introduction and the details of the larger English collections down to 1660 are mainly the work of the English partner in this enterprise, while the later quartos in English hands, all those in the United States and the List of Unidentified Copies and Index are due to the American. But the partners have exchanged much information and are quite willing to share the burden of each other's responsibilities. American copies are allocated to their owners in the autumn of 1915, British ones to those who held them at the outbreak of the European War, which may also be mentioned as having precluded any attempt to trace the few quartos on the Continent of Europe, and

[ xl ]

INTRODUCTION

interrupted a correspondence with the late Lord Ninian Crichton Stuart, who later on died very gallantly at the head of his battalion of the Welsh Regiment. The lack of information as to his copies and Mr. Folger's is greatly regretted. In other respects we could wish our work were better, but the difficulties of collaboration under the circumstances of the last eighteen months have been great.

Two small points to be noted are that the measurements of type-pages and of most copies have been taken from sig. Ci, and that the catchwords of the first page of each quire are given as a help to identifying imperfect copies. These catchwords have been found excellent tests in differentiating the undated editions of *Hamlet* and *Julius Caesar* which have hitherto been confused. The differentiation of Mr. W. A. White's 1598 edition of *Richard II* from the other examples bearing this date has already been mentioned incidentally, and may perhaps also be placed to the credit of this Census.

Our thanks are due to His Grace the Duke of Devonshire and his libra-
rian, Mr. J. P. Maine; His Lordship the late Earl of Ellesmere and his
librarian, Mr. Strachan Holme; Mr. S. R. Christie Miller, Britwell Court;
Mr. John Murray, London; Mr. W. A. White, Brooklyn; Mr. H. E.
Huntington, New York; Mr. H. H. Furness, Philadelphia; Mr. Marsden
J. Perry, Providence, R. I.; to the librarians of the various public institu-
tions in England and America which have Shakespeare Quartos; and lastly
to all collectors in both countries who have kindly and generously opened
their libraries to us and assisted us in every way with information in regard
to their books.

HENRIETTA C. BARTLETT,
ALFRED W. POLLARD.

February, 1916.

[ xli ]

HAMLET.

HAMLET, 1603.

The | Tragicall Historie of | Hamlet | Prince of Denmark | By William
Shake-speare. | As it hath beene diuerse times acted by his Highnesse
ser-juants in the Cittie of London: as also in the two V-niuersities of
Cambridge and Oxford, and elsewhere. | [Ling's device] | At London
printed for N.L. and Iohn Trundell. | 1603.

First edition. Title, 1 leaf; B-I⁴; total, 33 leaves. Type-page, 6 x 3 ⅜.

Catchwords: Bi, There-; Ci, Ham.; Di, For; Ei, Ham.; Fi, Gil.; Gi, I; Hi, Leartes; Ii, Hor.

COPIES.

BRITISH MUSEUM. 6 15/16 x 4 11/16". Title lacking; irregularly interleaved with text of modern edition of later version pasted on interleaves and also quotations from Theobald; a few variant readings on margins of text. "Bought 9 November 1858" stamped on Ia verso; crown stamp on Bi recto. Pasted on wrapper is the note: "This is the rare & most precious Edition of the Hamlet of 1603, of which the only other known copy is in the collection of the Duke of Devonshire. I purchased this volume of Messrs Boone in Sept. 1856 for £120. J. O. Halliwell". Inside cover is pasted this printed entry from catalogue: "No perfect copy is known of this, the original sketch of Shakespeare's Hamlet. All the older commentators were ignorant of its existence and it was not until the year 1825 that a copy, wanting the last leaf, was discovered. That copy, long supposed to be unique, is now in the possession of the Duke of Devonshire. The present one has the last leaf but wants the title. It is otherwise perfect in firm sound genuine condition throughout, and most of the leaves remarkably fine." The Rooney of Trinity College, Dublin (sold, 1856), Boone (sold, September, 1856), Halliwell (sold, November 9, 1858) copy. Kept in grey wrappers pasted over brown paper as at time of purchase, within red morocco case. Pressmark, C. 34. k. 1. [1]

HUNTINGTON. 6 5/8 x 4 9/16". Ia lacking; some headlines cropped. Found by
Sir H. E. Bunbury at Barton, 1823, in volume containing other quartos; probably
belonged to his grandfather, Sir William Bunbury. The Bunbury (exchanged,
1823), Payne & Foss (sold, 1823), Devonshire (sold, January, 1914) copy. Inlaid
and bound with Henry IV, 1600, and other plays in Vol. 542 of the Devonshire
Collection.

Separately bound
in Blue morocco by
Macdonald, Apr. 1920

[ 1 ]

A CENSUS OF SHAKESPEARE QUARTOS

HUNTINGTON. 6 13/16 x 4 9/16". Title lacking; cropped top and foot. Signature of George Steevens; note: "Collated & Perfect, J. P. K., 1814"; and Roxburghe arms on Bi recto; notes by Steevens and numerous pencil marks. The Steevens (May, 1800, No. 1263), Roxburghe (May, 1812, No. 3864), Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Inlaid and bound in red levant morocco by Birdsall.
[18]

HUNTINGTON. 6 7/8 x 4 7/8". With signed autograph letter of Cobden Sanderson laid in. Book-plate of R. Hoe. The Pope (sold, June, 1895), Hoe (April, 1911, No. 2972) copy. Bound in brown morocco, elaborate gilt tooling, green silk doublures and fly-leaves, by Cobden Sanderson.
[19]

HUNTINGTON. 7 x 5 3/16". F4 in facsimile. Book-plate of E. D. Church. The Locker (sold, January, 1905), Church (sold, April, 1911) copy. Bound in red levant morocco, by Bedford.
[20]

TRINITY COLLEGE, CAMBRIDGE. 7 1/4 x 5 1/4". Title lacking; some leaves stained. The Capell (presented, June, 1779) copy. Bound in brown calf, with other Shakespeare plays. Pressmark, R. 19. 1.
[21]

WHITE. 6 5/8 x 5 1/8". Cropped top and foot, injuring some signatures and headlines; some corners extended. "Falconbridge, Toronto, 1885" on title; "Walter Townsend from W. G. Falconbridge 1894", and "Charles Young from Vernon, 1837" on fly-leaves. Purchased from Quaritch, December, 1896. Bound in brown straight-grained morocco, by Lewis.
[22]

HAMLET, n. d.

The | Tragedy | of | Hamlet | Prince of Denmark. | Newly Imprinted and enlarged, according to the true | and perfect Copy lastly Printed. | By | William Shakespeare. | [Smethwicke's device] | London, | Printed by W. S. for John Smethwicke, and are to be sold at his | Shop in Saint Dunstans Church-yard in Fleetstreet: | Vnder the Diall.

Fourth edition. A-N⁴; total, 52 leaves. N⁴ blank. Type-page, 6 3/8 x 4 3/4".

Catchwords: A₂, *Fran.*; Bi, Im-; Ci, The; Di, *Mar.*; Ei, My; Fi, Out; Gi, ous; Hi, *Ros.*; Ii, *Ham.*; Ki, *Quee.*; Li, And; Mi, they; Ni, And.

COPIES.

BODLEIAN. 7 x 5 1/16". Note by Malone facing title: "This edition of Hamlet was printed, I believe, in 1607, as was also I imagine the undated edition of Romeo & Juliet, for these two plays were entered on the Stationers books by John Smethwick Novr. 19, 1607. E. M. (P.S.) In the edition of 1604 the words following the title are- 'Newly imprinted and enlarged to almost as much againe as it was according to the true and perfect coppie.' (P.S.) This undated copy I have colated with the quarto of 1604, and have placed the variations at the bottom of the page. E. M. In the Edition of 1604 the play is entitled The Tragicall Historie of Hamlet, &c." At back of title, the title of 1604 is copied with note to Newly imprinted &c. "These words which I have underscored shew that there was an earlier edition than that of 1604, though it has hitherto been undiscovered. It was probably printed in 1602. See the Entries in the Stationers Books." The Malone

[ 4 ]

WHITE. 6 13/16 x 4 3/4". Cropped top and foot, injuring some headlines, cutting away some signatures and catchwords and injuring some last lines of text. Book-plate of W. H. Crawford. Probably the Sotheby (August 11, 1865, No. 133) copy. The Crawford (March, 1891, No. 2884), Quaritch (sold, April, 1897) copy. [37 Bound in red levant morocco, by Bedford. £36.]

HAMLET, 1637.

The Tragedy of Hamlet Prince of Denmark. Newly imprinted and inlarged, according to the true and perfect Copy last Printed. By William Shakespeare. [Smethwicke's device] London, Printed by R. Young for John Smethwicke, and are to be sold at his Shop in Saint Dunstans Church-yard in Fleet-street, under the Diall. 1637.

Fifth edition. A-N⁴; total, 52 leaves. Type-page, 6 7/16 x 3 11/16".

Catchwords: A2, Fran.; Bi, From; Ci, This; Di, Such; Ei, Or; Fi, Polo.; Gi, Ham.; Hi, Ham.; Ii, Ger.; Ki, Enter; Li, King; Mi, roare?; Ni, leave.

COPIES.

BODLEIAN. 7 x 5 1/8". Two wormholes in imprint, one ending at Bi, the other at C4; Di-D2 outer top corner cut off. Early manuscript corrections on C3 verso, C4 recto and verso, D2 recto, D3 verso, etc. The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. II. Pressmark, Malone, 33. [38

BOSTON PUBLIC. 7 3/16 x 5 7/16". B3 mended in lower outer corner, some letters lacking; Bi and Ci mended in lower corners. The Barton (sold, May, 1873) copy. Bound in red morocco, some edges uncut, by Clarke and Bedford. [39

BRITISH MUSEUM. 7 3/16 x 5 1/2". Lower corner of title mended; flaws in margins of several leaves; Di and Ma, lower corner made up; in some cases the natural unevenness of the edges has been patched by the binder. The Garrick (bequeathed, January, 1779) copy. Bound in red morocco, Garrick's arms on back. Pressmark, C. 34. k. 5. [40]

CAMBRIDGE UNIVERSITY. 7 x 4 7/8". Title backed and defective, lacking all of imprint. "E. C.[apell]" and scribblings on title; "J. W. Bruce" on fly-leaf; "Saml. Sandars M.A. Trinity College Cambridge, 1885"; Manuscript list of characters for Henry IV on last page. The Capell, C. D. Gardner (June, 1880, No. 1422), Sandars (bequeathed, 1894) copy. Bound in russia. Pressmark, SSS. 32. 23. [41]

CRICHTON STUART. Half green mor. [42]

DYCE COLLECTION. 6 3/4 x 5". "C.P. A. Dyce" on fly-leaf; "This copy was once the property of that valuable injured Editor, Lewis Theobald. See the collation and Remarks in his handwriting, passim. J. Boaden." on fly-leaf; Titles of 1605 and 1611 editions transcribed by Theobald on each side of Smethwicke's device; notes mostly on margin, few on interleaves. The Theobald (sold, October, 1744), Boaden (c. 1839), Dyce (bequeathed, 1869) copy. Interleaved and bound in half morocco. No. on title "282". [43]

[ 6 ]

TRINITY COLLEGE, CAMBRIDGE. 7 1/4 x 5 1/4". The Capell (presented, June, 1779) copy. Bound in brown calf, with other Shakespeare plays. Pressmark, R. 21. 1. [60]

[WHITE.] 7 1/4 x 5 3/8". Signatures C and D transposed by binder. The Pope (sold, June, 1895), Dodd, Mead & Co. (sold, January, 1897) copy. Bound in tan morocco, some leaves uncut at foot, with acorn ornaments, [61]

HAMLET, 1676.

FOUR LINE IMPRINT.

The | Tragedy | of | Hamlet | Prince of Denmark. | As it is now Acted at his Highness the | Duke of York's Theatre. | By | William Shakespeare. | [Ornament] | London: | Printed by Andr. Clark, for J. Martyn, and H. Herringman, | at the Bell in St. Paul's Church-yard, and at the Blue | Anchor in the lower Walk of the New Exchange, 1676.

Sixth or seventh edition. 2 leaves without signatures; B-M⁴; total, 46 leaves. Type-page, 7 ½ x 3 15/16".

Catchwords: (A2), The; Bi, *Mar. O*; Ci, I think; Di, Doom'd; Ei, Your; Fi, *Pol. My*; Gi, the; Hi, I will; Ii, *Qu.* Mad; Ki, Dear; Li, the; Mi, Court.

*The two editions of this date are reset throughout, but with many of the same mistakes; we have not been able to determine which is the earlier. They can be distinguished at once by the title-pages, one edition having four lines of imprint while the other has five.

COPIES

BIRMINGHAM. 8 3/8 x 6". Purchased, 1883. Bound in boards, morocco back. [62]

BODLEIAN. 8 9/16 x 6 7/16". Title mended on inner margin; Di and Mi torn in margins; Blank corners of M4 cut off. "Purchd, 1828" on title. Purchased, 1828. Bound in half calf. Pressmark, Malone 770. [63]

BRITISH MUSEUM. 8 1/16 x 6 1/16". Title torn on inner margin and soiled; stabbed throughout on inner margin. Purchased, 1846. Bound in half morocco. Pressmark, 1344. f. 25. [64]

[BRITWELL LIBRARY.] 8 1/4 x 6 1/4". Title and last leaf soiled. Unbound. [65]

FOLGER. Some margins mended; writing on verso title. The McKee (April, 1901, No. 2614) copy. Bound in dark blue morocco, by Bradstreet. [66]

[RICHARDSON.] 8 3/16 x 6 1/8". M2 mended in corner. Bound in half morocco. [67]

[VICKERY.] 8 5/8 x 6 1/2". Book-plate of M. D. Rhidson. Purchased, 1905. Bound in brown levant morocco, by Riviere. [68]

[WHITE.] 8 7/8 x 6 5/8". Bound in brown cloth in 1913. [69]

[8]

[69i]. PICKERING & CHATTOPADY. 8 3/8 x 6 5/16". Some black margins, mended. Bound in red morocco by Riviere.

HENRY IV, PART 1

UNDESCRIBED EDITION.

KNOWN ONLY FROM A FRAGMENT CONSISTING OF SHEET C, 4 LEAVES.

FOLGER. 7 ¼ x 5 ⅝". Ci-C₄, 4 leaves only. Note by Halliwell: "The reason of these leaves being clumsily mended and unskillfully inserted arises from my considering them to be so precious that I would not trust them out of my own hands, the binders merely supplying the cover. There can be little doubt but that they are a portion of the first and hitherto unknown edition of the First Part of Henry 4th, published by Wise early in the year 1598. . . . These leaves were found at Bristol some years ago in the binding of a copy of Thomas' Rules of the Italian Grammar. Quarto, 1567. J. O. Halliwell, May 25th, 1867." The Halliwell Rarities (sold, January, 1897, No. 19), Perry (sold, March, 1907) copy. Bound in red morocco.
[121]

HENRY IV, 1598.

The | History of | Henrie the | fourth; | With the battell at Shrewsburie, | betweene the King and Lord | Henry Percy, surnamed | Henrie Hotspur of | the North. | With the humorous conceits of Sir | John Falstalffe. | [Short's device] | At London, | Printed by P.S. for Andrew Wise, dwelling | in Paules Churchyard, at the signe of | the Angell. 1598.

First described edition. A-K⁴; total, 40 leaves. Type-page, 6 5/16 x 3 8/8".

Catchwords: A₂, Which; Bi, *Prin.*; Ci, O the; Di, *Hot*; Ei, *Prin.*; Fi, And; Gi, Through; Hi, The; Ii, And; Ki, hot.

COPIES

BRITISH MUSEUM. 7 ¼ x 5 ⅛". Lacking all of E₄ except a piece 3 ½ x 1" at foot of lower inner margin; lacking K₄; corners of title and many other leaves made up. Inserted at end is the following letter: "Sir, In my lodgings at Hawick I lately found this play. Observing it to be the first edition, I begged it of my Landlord, although incompleat, on your account. If it should not be of use to you, I shall still be pleased with my intentions; But if it is, I shall be better pleased; and most of all if that use be such as may entertain or benefit the public; in which I see you smilingly concur with me. I am with the highest esteem Sir, your unknown but most obedient humble servant Humani Nihil . . . To David Garrick Esq. July, 26, 1757." The Garrick (bequeathed, January, 1779) copy. Bound in red morocco. Pressmark, C. 34. k. 5*. [122]

[ 15 ]

HUNTINGTON. 6 ½ x 4 ¼”. Cropped at top, injuring many headlines. Note by Sixth Duke of Devonshire: “Collated and Perfect. D. 1827”. The Bunbury (exchanged, 1823), Payne & Foss (sold, 1823), Devonshire (sold, January, 1914) copy. Inlaid and bound with Hamlet, 1603, and other plays in Vol. 542. [123]

TRINITY COLLEGE, CAMBRIDGE. 7 ⅛ x 5 ¼”. Worm-holes in Ai-Ba. The Capell (presented, June, 1779) copy. Bound in brown calf, with Hamlet, n. d. Pressmark, R. 20. 4 [124]

HENRY IV, 1599.

The | History of | Henrie the | Fourth; | With the battell at Shrewsburie, | betweene the King and Lord Henry | Percy, surnamed Henry Hot-spur of the North. | With the humorous conceits of Sir | Iohn Falstalffe. | Newly corrected by W. Shake-speare. | [Device] | At London, | Printed by S.S. for Andrew Wise, dwelling | in Paules Churchyard, at the signe of | the Angell. 1599.

Second edition. A-K⁴; total, 40 leaves. Type-page, 6 ½ x 3 ⅝.

Catchwords: A₂, Which; Bi, *Prin.*; Ci, O the; Di, *Hot.*; Ei, *Prin.*; Fi, And; Gi, Through; Hi, The; Ii, And; Ki, hot.

COPIES

BODLEIAN. 6 13/16 x 5". Malone's note: "This is the second edition of this play, which I have collated with the first printed in 1598." The Malone (presented, 1821) copy. Inlaid and bound in tree calf, yellow edges, with "E.M." on covers, with other plays in Vol. VII. of the collection. Pressmark, Malone, 38. [125]

BRIDGEWATER HOUSE, 7 ⅜ x 5 ⅜". Acquired prior to 1649 when it was catalogued by John, Second Earl of Bridgewater, Bound in morocco with arms of the Marquis of Stafford afterwards the First Duke of Sutherland, by Murton. [126]

BRITISH MUSEUM. 7 ⅛ x 5". "Geo. Steevens" on title. The Steevens (May, 1800, No. 1265), King George III (presented, 1823) copy. Bound in half red morocco. Pressmark, C. 12. g. 12. [127]

BRITISH MUSEUM. 6 ¾ x 4 ¾”. Cropped at top, injuring first “THE” of title, headpiece of A₂, and many headlines; many leaves mended at top or foot; title and several leaves stained. The Garrick (bequeathed, January, 1779) copy. Bound in red morocco, Garrick’s arms on sides. Pressmark, C. 34. k. 6. [128]

CRICHTON STUART. [129]

ELIZABETHAN CLUB. 7 ⅝ x 5 9/16". Ii-K⁴ remargined; blank corners extended and mended throughout. Huth book-plate. The Halliwell (Sotheby, May, 1857, No. 875), Huth (November, 1911, No. 1195), Cochran (presented, December, 1911) copy. Bound in red morocco, some leaves uncut, by Bedford. [130]

FOLGER. The Roxburghe (May, 1812, No. 3832) copy. [131]

HUNTERIAN MUSEUM, GLASGOW. Size not given. Bound with Henry IV, Part 2, 1600, and works by other authors, Pressmark, Co. 3. 27. [132]

[ 16 ]

for Mathew Law, and are to be sold at | his shop in Paules Church-yard,
neere vnto S. | Augustines gate, at the signe of | the Foxe. 1608.

Fourth edition. A-K⁴; total, 40 leaves. Type-page, 6 7/16 x 3 3/8".

Catchwords: A₂, Which; Bi, *Prince*; Ci, O,; Di, *Hot*.; Ei, *Prince*; Fi, And; Gi, Through; Hi, The; Ii, And; Ki, hote.

COPIES

BODLEIAN. 6 13/16 x 4 3/4". "George Steevens" and Roxburghe arms on title; Heber stamp on fly-leaf. Heber's notes: "Very scarce. There are 3 preceding eds. 1598-1599-1604. Same copy bt. by I. Reid at G. Steevens sale for £1-7-0. Roxburghe sale, £2-5-0." "This ed. was unknown to G. Steevens when he printed H. IV. among the 20 plays. Not in Capell's colln. see his Cat. of Shakespeariana p. 218 where he refers for its existence to Mr. Bowle's copy (the same as present) Steevens bot. many of Bowle's books of White. See Steevens ed. of Shakespeare in 15 vols. Vol. I p. 442, note** where he distinctly states the present, formerly Mr. Bowle's, to be the only copy known." The Bowle (January 19, 1790), White, Steevens (May, 1800, No. 1266). Read, Roxburghe (May, 1812, No. 3833), Heber (June, 1834, No. 3456). copy. Bound in half red morocco. Pressmark, Malone, 868. [138]

BRITISH MUSEUM. 6 7/8 x 5". Inner margin and lower corner of title restored; slip pasted on fly-leaf with note in Halliwell's writing: "This is one of only two perfect copies known. It is not in the Capell or in any other collection except the Bodleian, which has the single copy that passed through the various sales to Heber's time. So extremely rare is it that I gladly gave Garrett of Newcastle £25 for an imperfect copy. The present is in a perfect genuine state, not made up in any way." The Halliwell (sold, November 9, 1858) copy. Bound in crimson morocco. Pressmark, C. 34. k. 7. [139]

CRICHTON STUART. [140]

FOLGER. K₄ in facsimile. "John Cooper, 1688", "Mr. Thomas Middleton Esq. of Silkswoorth" both in old handwriting. The Warwick copy. [141]

HUNTINGTON. 6 7/8 x 4 3/4". Cropped at foot, last figure of date in imprint difficult to read. The Devonshire (sold, January, 1914) copy. Bound in crimson morocco, by Birdsall. [142]

[PERRY.] 6 13/16 x 4 3/4". Ei, E₃, E₄, injured in lower corner, a few letters lacking; cropped at top, injuring a few headlines. List of Dramatis Personae in old hand inserted between Ai and A₂. Belonged to family of Carrington, Missenden Abbey prior to 1800. The Carrington (Sotheby's July, 1905, No. 381). copy. Bound in boards. £1000. [143]

[WHITE.] 7 3/16 x 5 1/4". Title backed and mended; A₂ mended on inner margin; Di and K₄ extended on outer upper corner; H₄ extended on lower inner corner; inner upper corners extended throughout. The Perkins (July, 1889, No. 1698). copy. Bound in red morocco with arms of F. Perkins in gilt on covers. [144]

HENRY IV, 1613.

The | History of | Henrie the fourth, | With the Battell at Shrewseburie,
betweene | the King, and Lord Henrie Percy, sur-named Henrie Hotspur

[ 18 ]

HENRY IV, 16 13

of the North. | VVith the humorous conceites of Sir | *John Falstaffe*.|
Newly corrected by W. Shake-speare. | [White's device] | London, |
Printed by W.W. for Mathew Law, and are to be sold | at his shop in |
Paules Church-yard, neere vnto S. | Augustines Gate, at the signe of the |
Foxe. | 1613.

Fifth edition. A-K⁴; total, 40 leaves. Type-page, 6 ⅜ x 3 ⅝".

Catchwords: A₂, which; Bi, *Prince*; Ci, O,; Di, *Hot*.; Ei, *Prince*.; Fi, And; Gi, Through; Hi, The; Ii, And; Ki, I.

COPIES

BODLEIAN. 7 x 4 ⅞". G₃ torn, affecting lines 4, 3, 2, from foot of recto and last 11 lines of verso; print torn off middle of last line on K₃ recto. The Malone (presented, 1821) copy. Inlaid and bound in tree calf, yellow edges, with "E.M." on covers, with other plays in Vol. I of the collection. Pressmark, Malone, 32. [145]

BRITISH MUSEUM. 6 ¾ x 4 ¾". Cropped at foot, injuring signatures and catchwords on A₂, A₃, E₃. "George Steevens" on title and Roxburghe arms on verso. The Steevens (May, 1800, No.-1267), Roxburghe (May, 1812, No. 3834), Halliwell (sold, November 9, 1858) copy. Bound in red morocco. Pressmark, C. 34. k. 9. [146]

BRITISH MUSEUM. 6 15/16 x 5 5/8". K₄ lacking and supplied in pen facsimile on 2 leaves of tracing paper; Aᵢ-C₂ very tender, some corners restored; outer margin of E₃ patched. An early hand has added divisions into scenes. Note by Halliwell pasted opposite title: "This copy wanting the last leaf (sic) should be preserved with my other copy, which is perfect, on account of the curious variations in sheet H. which in this one was evidently corrected after the other was struck off. . . ." The Halliwell (sold, November 9, 1858) copy. Bound in blue straight-grained morocco. Pressmark, C. 34. k. 8. [147]

ELIZABETHAN CLUB. 7 ¾ x 4 15/16". Ki mended in lower portion; some leaves stained. "This copy belonged to the late Mr. Windus, & was purchased at his sale, March, 1868 by Lilly for —. I obtained it, April 1870 by exchange with Wm. Harrison of Samlesbury Hall. J. O. H.[alliwell]". Huth book-plate. The Windus (March, 1868, No. 908), Harrison (exchanged, April, 1870), Halliwell, Huth (November, 1911, No. 1196), Cochran (presented, December, 1911) copy. Bound in red morocco, by Hayday. [148]

FOLGER. 6 ¾ x 4 ⅞". Cropped at foot, injuring some catchwords. The Pope (sold, December, 1895), Hoe (April, 1911, No. 2973) copy. Bound in orange levant morocco, elaborately inlaid and tooled sides and back; orange levant morocco doublure, silk fly-leaves, by Riviere. [149]

FOLGER. Size not given. I₄ mended; a few leaves stained. The Jennens (collected c. 1740, bequeathed, 1773, to W. P. A. Curzon, ancestor of Lord Howe), Howe (sold, December, 1907) copy. Bound in half blue morocco. [150]

HUNTINGTON. 7 x 4 15/16". Ai and K₄ remargined; some leaves soiled. The Devonshire (sold, January, 1914) copy. Bound in half olive morocco. [151]

HUNTINGTON. 6 ⅜ x 5 ¾". I₄ extended in upper portion with headlines in facsimile. With Locker and Church book-plates. The Tite (May, 1874, No. 2736), Locker (sold, January, 1905), Church (sold, April, 1911) copy. Bound in red levant morocco, by Bedford. [152]

NEW YORK PUBLIC. 6 5/8 x 4 4/16". Notes on verso title and throughout book, probably by George Steevens; "Geo. Steevens" on title; "A. Dyce" on fly-leaf. The Steevens, Dent (April, 1827, No. 1035), Thorpe (1827-1839), Loscombe (June, 1854, No. 1043), H. Stevens (sold, December, 1855), Lenox (incorporated as Lenox Library, 1870; New York Public, May, 1895) copy. Bound in red morocco, by Hering. [153]

TRINITY COLLEGE, CAMBRIDGE. 7 1/4 x 5 1/4". Upper corner torn off K2, and wormholes. Collated throughout in Capell's hand with the edition of 1608. The Capell (presented, June, 1779) copy. Bound with other plays in brown calf. Pressmark, R. 21. 2. [154]

HENRY IV, 1622.

The | Historie | of | Henry the Fourth. | With the Battell at Shrewsburie, betweene | the King, and Lord Henry Percy, surnamed | Henry Hotspur of the North. | With the humorous conceits of Sir | John Falstaffe. | Newly corrected. | By William Shake-speare. | [Ornament] | London, | ¶Printed by T.P. and are to be sold by Mathew Law, dwelling | in Pauls Church-yard, at the Signe of the Foxe, neere | S. Austines gate, 1622.

Sixth edition. A-K⁴; total, 40 leaves. Type-page, 6 ½ x 3 ⅝".

Catchwords: A2, Which; Bi, *Prince*; Ci, O.; Di, *Hot*.; Ei, *Prince*.; Fi, And; Gi, Through; Hi, The; Ii, And; Ki, I.

COPIES

BODLEIAN. 7 1/8 x 5 3/16". Heber stamp on fly-leaf. The Heber (June, 1834, No. 5458) copy. Bound in half morocco. Pressmark, Malone, 869. [155]

BOSTON PUBLIC. 7 3/16 x 5 1/8". The Halliwell (May, 1857, No. 869), Barton (sold, May, 1873) copy. Bound in brown morocco, by Bedford. [156]

BRITISH MUSEUM. 6 13/16 x 5". Paper darkened, a little stained and tender; title slightly cropped at top and foot. Pencil reference to English Theater; "2107" on verso title. The King George III (presented, 1823) copy. Bound in half morocco. Pressmark, C. 12. g. 21. [157]

CRICHTON STUART. 3/8 x 1/4". [158]

DYCE COLLECTION. 7 1/8 x 5 1/16". Stained; G-K, foxed; Fi-F4 much cleaned. "C.P. A. Dyce". The Dyce (bequeathed, 1869) copy. Bound in red morocco, by *Merton*.

EDINBURGH UNIVERSITY. 6 3/4 x 4 7/8". Title and K4 in facsimile; cropped at top and foot, injuring some headlines and signature-marks. The Halliwell (presented, 1872) copy. Bound in half levant morocco, by Bedford. [160]

FOLGER. Size not given. The Gott (sold through Sotheran, 1907) copy. Bound in red morocco, by Lewis. [161]

FOLGER. The Warwick copy. 6 7/8 x 4 3/4". [162]

FOLGER. Size not given. Date on title in facsimile. Probably the Utterson (April, 1852, No. 1697), Title (May, 1874, No. 2737), Kershaw (July, 1877, No. 1229), Gaisford (April, 1890, No. 1744) copy. Bound in red morocco. [163]

[ 20 ]

Catchwords: Bi, Such; Ci, Enter; Di, [Exeunt.] | Scene; Ei, Prin.; Fi, Which; Gi, [Exeunt omnes.] | Scene; Hi, Making.

*This edition was abridged but not altered by Thomas Betterton.

COPIES

ADLER. 8 ⅜ x 6 ¼". Spotted. Bound in boards. [196]

BIRMINGHAM. 8 7/16 x 5 ¼". Title mended on outer blank margin; H₃ mended. Some notes on margins; book-plates of Frederick Perkins and F. A. Marshall. The Perkins (July, 1889, No. 1712), Marshall (July, 1890, No. 1177) copy. Bound in half calf. [197]

BODLEIAN. 8 9/16 x 6 5/16". Title torn; cropped at top, injuring some headlines; H₂ and H₃ torn on inner margins. The Malone (presented, 1821) copy. Bound with other old plays in calf. Pressmark, Malone 73. [198]

BODLEIAN. 8 ½ x 6". Few headlines cut into. The Malone (presented, 1821) copy. Bound with other old plays in calf. Pressmark, Malone 111. [199]

BOSTON PUBLIC. 8 7/16 x 6 5/8". Probably the Jolley (June, 1844, No. 594) -copy. The Barton (sold, May, 1873) copy. Bound in half morocco. [200]

BRITISH MUSEUM. 8 ⅜ x 6". Worn on all edges. The King George III (presented, 1823) copy. Bound in half morocco. Pressmark, 163. h. 69. [201]

BRITISH MUSEUM. 8 1/16 x 6 1/8". Title mended in several places; cropped top and foot, injuring some headlines, signatures and catchwords. The Garrick (bequeathed, January, 1779) copy. Bound in half morocco, Garrick's arms on back. Pressmark, 644. f. 51. [202]

BRITISH MUSEUM. 8 9/16 x 6 7/16". Purchased. Bound with Hamlet, 1703, and other old plays. Pressmark, 841. c. 3. [203]

FOLGER. The Warwick copy. 8 11/16 x 6 9/16". Not by Hallcnel. [204]

HARVARD UNIVERSITY. 8 ½ x 6 ¼". Title lacking; H₃ torn in lower outer corner, injuring a few letters. The Drew (presented, February, 1903) copy. Bound in cloth. [205]

[HUNTINGTON.] 8 ⅜ x 6 ½". Cropped at top, injuring one headline. The Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Bound with other plays in Vol. 140. [205*]

MORGAN. 8 ⅜ x 6 ¾". Morgan book-plate. The Irwin (sold, March, 1900) copy. Bound in red levant morocco, by Pratt for Mr. Irwin. [206]

NEW YORK PUBLIC. 8 ¾ x 6 ½". "Tho. Corbin" on top of title. The Myers (presented, 1899) copy. Bound with other plays. [207]

UNIVERSITY OF MICHIGAN. 8 13/16 x 6 5/8". The Sotheby (June 27, 1906, No. 439) copy. Bound in half morocco, by Holland. [208]

[WHEATLEY.] 8 7/16 x 6 8/8". The Pickering (sold c. 1905) copy. Unbound. [209]

WRENN. Estate of J. H. 8 11/16 x 6 ¾". Book-plate of J. H. Wrenn. Purchased, April 7, 1905. Bound in polished calf, by Riviere. [210]

[ 24 ]

HENRY IV, PART 2

HENRY IV, PART 2, 1600.

SHEET E, 4 LEAVES.

The | Second part of Henrie | the fourth, continuing to his death | and coronation of Henrie | the fift. | With the humours of sir John Fal-staffe, and swaggering | Pistoll. | As it hath been sundrie times publikely | acted by the right honourable, the Lord | Chamberlaine his seruants. | Written by William Shakespeare. | [Ornament] | London | Printed by V.S. for Andrew Wise, and | William Aspley. | 1600.

First edition, first issue. A-K⁴; L²; total, 42 leaves. L₂ blank. Type-page, 6 ⅛ x 3 ½".

Catchwords: A₂, I; Bi, *Iohn*; Ci, *Hostesse*.; Di, eate; Ei, *Boy*.; Fi, and; Gi, *Mow*.; Hi, and; Ii, I; Ki, Into; Li, First.

COPIES

BODLEIAN. 6 ¾ x 4 ¾". Bi-B₄, Li, lacking; cropped at top, cutting off top of "THE" in title and headlines in sheet A; piece torn from blank margin of title and from Ci-C₄, injuring from 7 to 17 lines of text. On A₂ recto, "Goe to the Emmot O thou slugard and learne of hir". Malone's note facing title: "In this copy signature E has only the ordinary quantity of leaves, namely four. The publisher finding he had omitted somewhat, cancelled the two latter (viz. E₃ & E₄) reprinted them in a different manner and added a fifth in order to get in the omitted lines. This is the only difference between the copies. See the other copy with the additional leaf in Vol. V. In a copy of the play which belonged to Samuel Tysen Esqr. and was sold with his collection in Dec. 1801 is written in the titlepage, in the handwriting of Shakespeare's times, '11 December 1610. price v d.'" The, Malone (presented, 1821) copy. Inlaid and bound in tree calf, yellow edges, with "E.M." on covers, with other plays in Vol. IV. Pressmark, Malone 35. [211]

BRITISH MUSEUM. 6 ¾ x 4 ¹⁵/₁₆". Sheet E, 4 leaves, only. Halliwell's note: "There is only one early edition of this play but some copies have an enlarged sheet E, with an additional scene, consisting of six leaves. The fact clearly is that, as originally published, sheet E contained only four leaves. The error was found out, & in copies issued afterwards the sheet was altered. There are two copies in the Museum, but both have the enlarged sheet. The present genuine copy of the original sheet is taken from a duplicate in my collection." The Halliwell (sold, November 9, 1858) copy. Bound in red morocco. Pressmark, C. 34, k. 13. [212]

[ 25 ]

HENRY V.

HENRY V, 1600.

The | Cronicle | History of Henry the fift, | With his battell fought at
Agin Court in | France. Togather with Auntient | Pistoll. | As it hath
bene sundry times playd by the Right honorable | the Lord Chamberlaine
his seruants. | [Creede's device] | London | Printed by Thomas Creede,
for Tho. Milling-[ton, and Iohn Busby. And are to be | sold at his house
in Carter Lane, next | the Powle head. 1600.

First edition. A-G⁴; total, 28 leaves. G₂ is wrongly marked G₃; G₄ is blank. Type-page, 6 ⅛ x 3 ⅜".

Catchwords: A₂, Bish; Bi, Nim. I; Ci, Question; Di, Will; Ei, Which; Fi, The; Gi, And.

COPIES.

BODLEIAN. 6 15/16 x 4 7/8". Stained. The Malone (presented, 1821) copy. Inlaid and bound with Henry IV, 1613, and other plays in Vol. I. Pressmark, Malone, 32. [228]

BRITISH MUSEUM. 7 3/16 x 4 3/4". Wide lower margins but some a little mended; title-page backed. The King George III (presented, 1823) copy. Bound in crimson morocco. Pressmark, C. 12. g. 22. [229]

ELIZABETHAN CLUB. 7 1/16 x 5 1/4". Stabbed throughout on inner margins. "15. 7. 6. Sale by Sotheby, 1821" in Heber's hand and Heber's stamp on front fly-leaf; G4 genuine but partly lacking; Huth book-plate. The Heber (June, 1834, No. 5461), Daniel (July, 1864, No. 1431), Huth (November, 1911, No. 1208), Cochran (presented, December, 1911) copy. Bound in vellum. [230]

HUNTINGTON. 7 x 5". With names of "J. fleming. 1695", "Gower, 1704" and "George Steevens," and scribbling on several leaves; "Collated & Perfect. J. P. K. 1804" The Steevens (May, 1800, No. 1271), Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Inlaid and bound with Lear, 1608, and other plays in Vol. 375. [231]

HUNTINGTON. 7 x 5 ¼”. B4-G3 in facsimile; Bi-B3 have some words in facsimile. Locker and Church book-plates. The Tite (May, 1874, No. 2739), Locker (sold, January, 1905), Church (sold, April, 1911) copy. Bound in red levant morocco, by Bedford. [232]

TRINITY COLLEGE, CAMBRIDGE. 6 ½ x 4 ¾". Cropped at top, injuring title-page and most headlines. The Capell (presented, June, 1779) copy. Bound in brown calf, with other plays. Pressmark, W. 5. 5. [233]

[ 29 ]

[HUNTINGTON] 6⅞ x 4 13/16". "Collated & Perfect. J. P. K. 1798" The Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Inlaid and bound with other plays in Vol. 305, [257]

JOHN CARTER BROWN LIBRARY. 7¼ x 5”. Acquired prior to 1871. Bound in red levant morocco, by De Coverly. [258]

MORGAN. 7 3/16 x 5 1/4". G3 mended. Morgan book-plate. The Asay (sold, December, 1881), Irwin (sold, March, 1900) copy. Bound in old rose levant morocco, somewhat faded, by Bedford. [259]

MURRAY. 7¼ x 5 5/16". Book-plate of John Murray, Newstead, Wimbledon Park. Acquired prior to 1892. Bound in calf. [260]

NEW YORK PUBLIC. 7 3/16 x 5 1/4". G4 blank and genuine. With "January 1835, from W. P. 3" on fly-leaf. The H. Stevens (sold, December, 1855), Lenox (incorporated as Lenox Library, 1870; New York Public, May, 1895) copy. Bound in maroon morocco. [261]

[PERRY] 7 x 5 1/4". The Gwynne, Count Goertz-Wrisberg (sold, August, 1902), Quaritch (sold, October, 1902) copy. Bound in old calf with "Edward Gwynne" in gilt on covers and white label on back "Plays und Pamphlets of Shakespeare", the volume contains six genuine and three spurious plays. [262]

TERRY. 6 5/8 x 4 1/2". Roxburghe arms on verso title. The Roxburghe (May, 1812, No. 3839), Pope (sold, June, 1895), Hoe (April, 1911, No. 2970), G. D. Smith (sold, March, 1915) copy. Bound in brown levant morocco, dark green doublure, elaborate gilt tooling and edges, by Michel. [263]

TRINITY COLLEGE, CAMBRIDGE. 7 ½ x 5 5/8". G4 blank and genuine. The Capell (presented, June, 1779) copy. Bound in brown calf, with other plays. Pressmark, Q. 12. 2. [264]

[WHITE] 6 13/16 x 4 3/4". Di mended in lower inner margin; some headlines cut into. Note on fly: "Bought of Messrs Boone for £10. Transferred to Mr. Cosens at cost price March, 1864." The Cosens (November, 1890, No. 4062), Quaritch (sold, December, 1890) copy. Bound in red levant morocco, by Riviere. [265]

[ 32 ]

KING LEAR.

KING LEAR, 1608.

M. William Shak-speare: | His | True Chronicle Historie of the life
and | death of King Lear and his three | Daughters. | With the vnfortunate
life of Edgar, sonne | and heire to the Earle of Gloster, and his | sullen
and assumed humor of | Tom of Bedlam: | As it was played before the
Kings Maiestie at Whitehall vpon | S. Stephans night in Christmas Holli-
dayes. | By his Maiesties seruants playing vsually at the Gloabe | on the
Bancke-side. | [Okes' device] | London, | Printed for Nathaniel Butter,
and are to be sold at his shop in Pauls | Church-yard at the signe of the
Pide Bull neere | St. Austins Gate. 1608.

First edition. Title, 1 leaf; B-L⁴; total, 41 leaves. Type-page, 6 ⅜ x 3 ⅝.

Catchwords: Bi, *Bast.*; Ci, *Glost.*; Di, sooth; Ei, *Kent*; Fi, Effects; Gi, Is; Hi, *Corn.*; Ii, With; Ki, your; Li, My.

COPIES.

BODLEIAN. 6 ⅞ x 5 ¼". L⁴ lacking; slight tear at foot of Ei; L₃ verso soiled. The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. IV. Pressmark, Malone, 35. [321

BODLEIAN. 7 x 4 ⅝". Title lacking. Cropped at top, injuring some headlines. The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. VI. Pressmark, Malone, 37. [322

BRITISH MUSEUM. 6 15/16 x 4 ¾". Lower margins of some leaves broken; F₂ has signature and catchword cropped; K₂ lower corner mended; C₂ verso, D₃ verso, F₃ recto, cropped on front margin, injuring some stage directions. Printed description by Halliwell inserted on fly-leaf: "First edition. A perfect and genuine copy. Only three perfect copies of this first edition have, to my knowledge, been sold by auction during the last thirty years, two in Heber's collection & the present one. Both of Heber's copies are now in America, one in the collection of Mr. Lenox, the other in that of Mr. Barton. It is almost the only first edition not in the Daniel collection." Unfortunately there is no copy of the Pide Bull edition in the Barton (now the Boston Public) Library; there is a copy of the other edition of 1608 which Winsor described as Heber, No. 2016, but there is a manuscript note in the book itself to the effect that Winsor was wrong. Probably the Loscombe (June, 1854, No. 1046) copy. Bound in purple morocco. Pressmark, C. 34. k. 18. [323]

[ 39 ]

FURNESS. 6 ¾ x 5". Title mended and backed, five letters lacking; cropped at top, injuring some headlines; A₂ mended in lower margin. Manuscript notes by Capell. The Capell, Kinsman (sold, July, 1872) copy. Bound in green levant morocco, blue silk doublures and fly-leaves. [344]

[HUNTINGTON.] 7 x 4⅞". Some headlines cropped. Two Birket Foster book-plates. (The Daniel (July, 1864, No. 1437), Foster (June, 1894, No. 26), Sotheby (December 14, 1906, No. 393), Sabin (sold, 1908), Halsey (sold, December, 1915) copy. Bound in green morocco, with "G. D.[aniel]" in gilt on front cover, by Lewis. [345]

[HUNTINGTON.] 6 ⅝ x 4 5/16". Cropped at top and foot, injuring some headlines and signatures. "Collated & Perfect. J. P. K. 1798." The Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Inlaid and bound with other plays in Vol. 119. [346]

HUNTINGTON. 7 3/16 x 5 5/16". Ki-K₄ extended on outer margin. Locker and Church book-plates. The Locker (sold, January, 1905), Church (sold, April, 1911) copy. Bound in red levant morocco, by Bedford. [347]

MORGAN. 7 1/16 x 5 3/16". Ives book-plate; list of Dramatis Personae in manuscript on verso title. The Perkins (July, 1889, No. 1700), Ives (March, 1891, No. 883), Van Antwerp (July, 1907, No. 198), Quaritch (sold, 1907) copy. Bound in red levant morocco, with Perkins's arms on covers, by Lewis. [348]

MURRAY. 7 x 5 1/4". Stain on margin of Hs-12. Book-plate of John Murray, Newstead, Wimbledon Park; label of Tudor Exhibition, London, 1889. Acquired prior to 1889. Bound in brown levant morocco, elaborately tooled, by Hayday. [349]

NEW YORK PUBLIC. 7 1/8 x 5 3/8". C₄, B₂, B₃, F₄, extended on outer and lower margins; B₄-C₃ extended in lower corner. The H. Stevens (sold, December, 1855), Lenox (incorporated as Lenox Library, 1870; New York Public, May, 1895) copy. Bound in brown morocco, by Bedford. [350]

PERRY. 7 x 5¼". The Gwynne, Goertz-Wrisberg (sold, August, 1902), Quaritch (sold, October, 1902) copy. Bound in old calf, with "Edward Gwynne" on covers, in volume containing six genuine and three spurious plays. [351]

PICKERING & CHATTO. 6 ¾ x 4 7/16". Six leaves in facsimile; cropped on fore edge. The Fitzgerald (June, 1907, No. 233) copy. Bound in green levant morocco, by Larkins. [352]

SHAKESPEARE BIRTHPLACE LIBRARY. 7 1/16 x 5 1/4". Some scribbles on title. The Hussey (May, 1906, No. 380), Quaritch (sold, 1906) copy. Bound in red morocco, by Riviere. [353]

TERRY. 6 ¾ x 5 1/4". Hoe book-plate. The Pope (sold, June, 1895), Hoe (January, 1912, No. 3035), G. D. Smith (sold, March, 1915) copy. Bound in brown levant morocco, maroon doublure elaborately tooled, in green morocco case, by David. [354]

TRINITY COLLEGE, CAMBRIDGE. 7 1/2 x 5 5/8". Last leaf torn. The Capell (presented, June, 1779) copy. Bound in brown calf, with other plays. Pressmark, Q. 11. 4. [355]

WHITE, A. T. 7 1/16 x 5". A₂ and A₃ mended on upper margins; A₄ extended on lower margin and mended; Ii-14 extended on outer margins, a few letters in facsimile. Book-plate of W. H. Crawford. Probably the Utterson (April, 1852, No. 1693), Sotheby (1856, No. 259) copy. The Crawford (March, 1891, No. 2892) copy. Bound in red levant morocco, by Bedford. [356]

King LEAR Butter, 1608 ( 1619).

Additional Copies

(358a) BIB. NAT. PARIS. 7 1/4 x 8 3/8" Title in facs. (by Harris), A2,A3,A4,B1 inlaid with some letters in facs.) from a much smaller copy. Notes: "3878, ± 6.6s." & "Rhodes sale, 4 11. wanting, ± 10." The Rhodes (Apr.,1825, n. 2102, ± 10, to) Thorpe, Pickering ( sold 1840) copy. Dark blue morocco, by J. Clarke.

(358b) PFORZHEIMER. 6 15/16 x 4 7/8" F4 slightly mended, G4 has one letter damaged. The Vernon (June 10, 1918, n. 466, ± 400. to Quaritch for) Rosenbach, sold ) Clawson (May, 1926, n. 719, $ 2750. te) copy. Red morocco, by Hayday.

(358c) ROSENBACH. 6 11/16 x 4 7/8" The Vernon ( sold, c. 1840 to) Holford( sold, 1925 te) copy. Red morocco, by Lewis.

(358d) FOLGER. (Formerly n. 325) 7 x 5 1/4" The Gott ( sold through Sotheran, July, 1906) copy. Red morocco, by Hayday.

(358e) HOGAN. Hi, H4 lacking, headlines cropped, top line of title in facs.. The Phillipps (June, 1919, n. 880), with 8 others, ± 710. to )Sotheran ( sold to) Wells( who had them rebound & sold separately te) copy. (see NMF 450 e.j.) Red levant morocco, by Riviere.

FOLGER. Probably the C. D. Gardner (June, 1880, No. 1425) copy. The Halliwell Rarities (sold, January, 1897, No. 193), Perry (sold, March, 1907) copy. Bound in calf, panelled sides. [366]

FOLGER. Title and Li in facsimile. 6 7/8 x 4 11/16". [367]

FURNESS. 7 1/16 x 5". Title in facsimile. Note by Halliwell on fly-leaf. The Tite (May, 1874, No. 2746), Kershaw (July, 1877, No. 1231) copy. Bound in red levant morocco, by Bedford. [368]

HUNTINGTON. 7 1/4 x 5 3/16". Cropped at top, injuring some headlines; leaves stabbed on inner margins throughout. Church book-plate. The Simes (July, 1886, No. 1535), Griswold (sold, August, 1889), Church (sold, April, 1911) copy. Bound in purple morocco. [369]

NEW YORK PUBLIC. 7 x 5 1/8". Title mended in margin. The H. Stevens (sold, December, 1855), Lenox (incorporated as Lenox Library, 1870; New York Public, May, 1895) copy. Bound in red morocco, by Bedford. [370]

TRINITY COLLEGE, CAMBRIDGE. 7 1/8 x 5 1/8". Stained. The Capell (presented, June, 1779) copy. Bound in brown calf, with other plays. Pressmark, S. 21. 4. [371]

WHITE. 7 5/16 x 5 1/2". The Quaritch (sold, September, 1892) copy. Bound in brown levant morocco, gilt border, by Hayday. [372]

[ 44 ]

LOVE'S LABORS LOST.

LOVE'S LABORS LOST, 1598.

A | Pleasant | Conceited Comedie | Called, | Loues labors lost. | As it
was presented before her Highnes | this last Christmas. | Newly corrected
and augmented | By W. Shakespere | [Ornament] | Imprinted at London
by W. W. | for Cutbert Burby. | 1598.

First edition. A-I⁴; K²; total, 38 leaves. Type-page, 6 ⅜ x 3 ½".

Catchwords: A₂, To; Bi, *Ber.*; Ci, *Prin.*; Di, a man; Ei, *Enter*; Fi, The; Gi, *Dull*; Hi, *Queene*; Ii, *Bero.*; Ki, To.

COPIES.

BODLEIAN. 7 ⅜ x 5 ¼". Title mended, small hole in the margin of Ci; Ki and K₂ stained. The Malone (presented, 1821) copy. Inlaid and bound in tree calf, yellow edges, with "E. M." on covers, with other plays in Vol. III of the collection. Pressmark, Malone, 34. [373]

HUNTINGTON [ ] BRIDGEWATER HOUSE. 7 ⅜ x 4 ⅞". Acquired prior to 1649, when it was catalogued by John, Second Earl of Bridgewater, Bound in green morocco, with arms of Marquis of Stafford, by Murton. [374]

BRITISH MUSEUM. 7 11/16 x 5 3/16". Wormholes in upper and lower margins through nearly the entire book. Bibliotheca Heberiana stamp. The Bindley (February, 1819, No. 2041), Heber (June, 1834, No. 5448), Daniel (July, 1864, No. 1428) copy. Purchased, August, 1864. Bound in marbled paper covers, in green morocco case. Pressmark, C. 34. l. 14. [375]

EDINBURGH UNIVERSITY. 6 13/16 x 4 7/8". Cropped at top. "No. 4" in old hand on title. The Drummond (presented, 1627) copy. Bound in green morocco, arms of Edinburgh University on covers. [376]

FOLGER. A2-A4 in facsimile. The Sotheby (August 11, 1865, No. 136), Halliwell Rarities (sold, January, 1897, No. 21), Perry (sold, March, 1907) copy. Bound in blue levant morocco, by Bedford. [377]

FOLGER. The Gott (sold through Sutheran, 1906) copy. Bound in red morocco, by Lewis. Heyday. A2-A4. [378]

CLARK, C.W. [ ] HUNTINGTON. 7 ¼ x 5 ⅛". Church book-plate. The Locker (sold, January, 1905), Church (sold, April, 1911) copy. Bound in brown morocco, Kinnear arms on sides. [379]

[ 45 ]

HUNTINGTON. 6 11/16 x 4 1/16". Cropped at foot, injuring some signatures and catchwords. "Collated & Perfect. J. P. K. 1804". The Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Inlaid and bound with other plays in bound Vol. 375. Apr. 1920 red morocco, by Macdonald. [380]

TRINITY COLLEGE, CAMBRIDGE. 7 x 5 1/8". The Capell (presented, June, 1779) copy. Bound in brown calf, with other plays. Pressmark, S. 37. 3. [381]

HARVARD. [WHITE.] 7 x 4 7/8". Cropped at top, injuring some headlines; K2 mended in upper outer corner, some letters lacking. The Perkins (July, 1889, No. 1690), copy. Bound in red morocco, Perkins's arms in gilt on covers. [382]

LOVE'S LABORS LOST, 1631.

Loues Labours lost. | A VVittie and | Pleasant | Comedie, | As it was
Acted by his Maiesties Seruants at | the Blacke-Friers and the Globe.
Written | By William Shakespeare. | [Smethwicke's device] | London, |
Printed by W. S. for Iohn Smethwicke, and are to be | sold at his Shop in
Saint Dunstones Church-yard vnder the Diall. | 1631.

Second edition. A-I⁴; K²; total, 38 leaves. Type-page, 6 5/8 x 3 3/4".

Catchwords: A₂, Longaiull; Bi, apprehended; Ci, Nau.; Di, Enter; Ei, Nath.; Fi, As; Gi, Ped.; Hi, Qu.; Ii, Qu.; Ki, Enter.

COPIES.

BODLEIAN. 7 ½ x 5 7/16". F₃ verso, "Actus Quartus" corrected to "Quintus" in old hand. The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. II. Pressmark, Malone, 33. [383]

BOSTON PUBLIC. 7 x 5 1/4". Title extended at foot and sides; C₄, D₂ re-margined; K₂ rebacked; Ki mended on outer margin. Note by Halliwell on fly-leaf: "My duplicate copy, sold in May, 1856, fetched £9". The Halliwell (Sotheby, May, 1857, No. 879), Barton (sold, May, 1873) copy. Bound in maroon morocco. [384]

BRITISH MUSEUM. 7 ⅛ x 5 3/16". Title soiled. The King George III (presented, 1823) copy. Inlaid and bound in half morocco. Pressmark, C. 12. L. 11. [385]

BRITISH MUSEUM. 6 13/16 x 4 7/8". Cropped at top, injuring many headlines. The Garrick (bequeathed, January, 1779) copy. Bound in green straight-grained morocco, with Garrick's arms on sides, by Tuckett for the Museum. Pressmark, C. 34. k. 21. [386]

CRICHTON STUART. [387]

KINGSLEY. [DODD.] 7 x 5". Title slightly mended in margin; C₂ mended at foot, six words of last line in facsimile; K₂ mended in margin. Book-plates of Francis Redhead Yorke Cheney and R. Hoe. The Cheney, Hoe (April, 1911, No. 2976), copy. Bound in green levant morocco, by Bedford. [388]

DYCE COLLECTION. 7 9/16 x 5 1/4". Title very brown. "C.P. A. Dyce". The Dyce (bequeathed, 1869) copy. Bound in calf. [389]

[ 46 ]

LOVE'S LABORS LOST, 1631.

EDINBURGH UNIVERSITY. 7 ⅛ x 4 ⅞". Ai-A4, Ki, K₂ badly stained. Book-plate of William Holgate. Probably the Rhodes (1825, No. 2085) copy. The Holgate (June, 1846), Windus (March, 1868, No. 911), Halliwell (presented, 1872) copy. Bound in red morocco, by Hayday. [390

ETON COLLEGE. 7 ⅛ x 5 ¼”. “5653” on title; note probably by Storer on verso title; K₂ backed and some catchwords cropped. The Storer (bequeathed, 1799) copy. Bound with Midsummer Night’s Dream, 1600, and other plays, in Vol. II. [391

FOLGER. The Halliwell (May, 1856, No. 333), Tite (May, 1874, No. 2749), Kershaw (July, 1877, No. 1232), Quaritch (sold, March, 1879), Halliwell Rarities (sold, January, 1897, No. 33), Perry (sold, March, 1907) copy. Bound in half green morocco. [392

FOLGER. Fragment only, lacking A₂-C₄, G₄, Hi, H₂, I₄-K₂. The Sotheby (April 18, 1904, No. 771) copy. [393

FOLGER. Title and last leaf defective, some headlines cropped. The [Kean] Sotheby (June 23, 1898, No. 137), Jonas (sold, May, 1903) copy. Bound in morocco, by Riviere. [394

FOLGER. The Pickering (sold, 1903) copy. [395

HUNTINGTON. 7 ¼ₗ x 5 ¾". Stabbed throughout on inner margin. Church book-plate. The Griswold (sold, August, 1889), Church (sold, April, 1911) copy. Bound in red levant morocco, with Griswold's arms on front cover, by Bedford. [396

MORGAN. 7 ¼ₗ x 4 ⅞". The Quaritch (sold, June, 1890), Irwin (sold, March, 1900) copy. Bound in red levant morocco, by Zaehnsdorf. [397

NEW YORK PUBLIC. 7 ¾ₗ x 5 ¼". The H. Stevens (sold, December, 1855), Lenox (incorporated as Lenox Library, 1870; New York Public, May, 1895) copy. Bound in red morocco, by Bedford. [398

PICKERING & CHATTO. 7 ⅝ₗ x 5 ⅝". Title mended in margins; extended and mended on upper margins, some letters of headlines in facsimile. The Sotheby (July, 1903, No. 492) copy. Bound in red levant morocco, by Riviere. [399

PRIVATE OWNER, NO. 1. 6 ½₁ₗ x 4 ⅞". Date cut off imprint. Bound in leather, c. 1680, when it came into the possession of the family of the present owner. [400

TRINITY COLLEGE, CAMBRIDGE. 7 ⅛ x 5 ¼". The Capell (presented, June, 1779) copy. Bound in brown calf, with other plays. Pressmark, S. 31. 5. [401

HARVARD [WHITE.] 7 x 5". Title and K₂ backed and extended; cropped at top, injuring some headlines; Ki extended on outer and inner margins. The C. D. Gardner (June, 1880, No. 1426), Sewall (January, 1897, No. 3432) copy. Bound in old rose levant morocco. [402

ROSENBACH [WHITE.] 6 ½₁ₗ x 4 ¾". Cropped at foot, injuring a few signatures. Book-plate of James Forbes. The Cosens (November, 1890, No. 4067), Daly (March, 1900, No. 2992) copy. Bound in sprinkled calf. [403

[ 47 ]

MERCHANT OF VENICE.

MERCHANT OF VENICE, 1600.

The most excellent | Historie of the Merchant | of Venice. | VWith the extreame crueltie of Shylocke the Iewe | towards the sayd Merchant, in cutting a iust pound | of his flesh: and the obtayning of Portia | by the choyse of three | chests. | As it hath beene diuers times acted by the Lord | Chamberlaine his Seruants. | Written by William Shakespeare. | [Ornament] | At London, | Printed by I. R. for Thomas Heyes, | and are to be sold in Paules Church-yard, at the | signe of the Greene Dragon. | 1600.

First edition. A-I⁴; K²; total, 38 leaves. Type-page, 6 ¼ x 3 ¾".

Catchwords: A₂, Vayling; Bi, worth; Ci, or,; Di, *Clawne*; Ei, *That*; Fi, *Bass*.; Gi, *Baltha*.; Hi, cannot; Ii, *Enter*; Ki, for.

COPIES.

BODLEIAN. 6 ¾ x 4 9/16". F₄, small piece torn from outer blank margin; Ki, K₂, stained. "S6" on top of title. The Malone (presented, 1821) copy. Inlaid and bound with Henry IV, 1599, and other plays in Vol. VII. Pressmark, Malone, 38. [411]

BOSTON PUBLIC. 6 ¾ x 4 ⅞". Title mended in margins. The Heber (December, 1834, No. 2014), Barton (sold, May, 1873) copy. Bound in brown levant morocco, gilt tooling, by Lewis. [412]

BRIDGEWATER HOUSE, 7 ⅜ x 4 ⅞". Acquired prior to 1649, when it was catalogued by John, Second Earl of Bridgewater, Bound in green morocco, with arms of the Marquis of Stafford, by Murton. [413]

BRITISH MUSEUM. 7 ¾ x 4 ⅞". Roxburghe arms on verso title. The Roxburghe (May, 1812, No. 3813), King George III (presented, 1823) copy. Bound in half morocco. Pressmark, C. 12. g. 1f. [414]

BRITISH MUSEUM. 6 ⅞ x 5 ¾". A₃, D₃, D₄, K₂ mended in margins; slightly soiled. The King George III (presented, 1823) copy. Bound in half morocco. Pressmark, C. 12. g. 32. [415]

BRITISH MUSEUM. 6 11/16 x 4 ¾". Title darkened; cropped at top, injuring many headlines. On back of title is list of early plays in manuscript and on early fly-leaf bound in at end is another list. The Garrick (bequeathed, January, 1779) copy. Bound in green morocco, with Garrick's arms on sides, by Tuckett for the Museum. Pressmark, C. 34. k. 22. [416]

[ 51 ]

CRICHTON STUART. With L. Theobald's signature and notes. The Theo-
bald, Steevens (May, 1800, No. 1279), Bute copy. Inlaid. [417

DYCE COLLECTION. 7 5/8 x 5 1/8". Rust hole in title and Ks; small piece cut
from lower corner of Ds; some lower margins slightly stained. The Dyce (be-
queathed, 1869) copy. Bound in blue morocco, by Murton. [418

ELIZABETHAN CLUB. 6 ¾ x 4 9/16". Somewhat stained. Huth book-plate, and note, probably by H. Huth, on fly-leaf: "Mr. Gardner's copy, a very bad one, sold at Sotheby's in July, 1854, for ____. This copy cost me ____ See my cash-book, 28 Oct. 1854". The Huth (November, 1911, No. 1214), Cochran (presented, December, 1911) copy. Bound in brown straight-grained morocco, by Murton. [419]

FOLGER. Title, A9, A4, Et, in facsimile; A3 mended and a few words are lacking.
Malone's note: "This copy was given to me by Dr. Farmer and the words on the
first page are his handwriting. For the title-page I am answerable." The Farmer
(May, 1798, No. 7855), Malone (Sotheby, November, 1818), Sotheby (August
11, 1865, No. 134). Halliwell Rarities (sold, January, 1897, No. 752), Perry
(sold, March, 1907) copy. Inlaid and bound in half brown morocco, by Bedford.
[420]

FOLGER. The Warwick copy.

[421]

FOLGER. The Jadis (March 3, 1828, No. 162), Daniel (July, 1864, No. 1432)
copy. Bound in green morocco, by Lewis, before Jester Dale. [422]

HUNTINGTON. 6 ¾ x 4 5/16". F2 mutilated; rust hole in E3. Note on page opposite title as to rarity of this edition. "Collated & Perfect. J. P. K. 1798". The Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Inlaid and bound with Richard II, 1597, and other plays in Vol. 120. In blue mor. by T. M. [423]

HUNTINGTON, 6 1/4 x 4 7/16". Cropped at top, injuring some headlines.
Locker and Church book-plates. The J. D. Gardner (July, 1854, No. 2195), Tite
(June, 1874, No. 2752), Locker (sold, January, 1905), Church (sold, April, 1911)
copy. Bound in red morocco, elaborately panelled sides, by Hayday. [424]

NEW YORK PUBLIC. 6 ¾ x 5". Note by Heber on fly-leaf: "There is a Copy
in Capells Coll. Trin. Coll. . . in the Br. Mus . . . in the Library of Geo. III
(Roxb. copy). The D. of Grafton's copy of this ed. (1815, sold for) 9. 9. 0.
The Roxburghe copy of this ed (1812) sold for £ 10. 0. 0. Mr. Bindley's . . . (1819)
. . . 22. 1. 0." The Heber (June, 1834, No. 5446), H. Stevens (sold December,
1855), Lenox (incorporated as Lenox Library, 1870; New York Public, May,
1895) copy. Bound in purple straight-grained morocco. [425]

TRINITY COLLEGE, CAMBRIDGE. 7 x 5 1/8". The Capell (presented, June, 1779) copy. Bound with other plays in brown calf. Pressmark, S. 30. 4. [426]

WHITE.] 7 1/8 x 5 5/16". The Mostyn (Sotheby, May 31, 1907, No. 478)
Bound in red levant morocco, by Club Bindery. [427]

MERCHANT OF VENICE, 1600 [1619].

The | Excellent | History of the Mer-|chant of Venice. | With the
extreme cruelty of Shylocke | the Iew towards the saide Merchant, in cut-
ting a iust pound of his flesh. And the obtaining | of Portia, by the choyse

[ 52 ]

MERCHANT OF VENICE [1619]

of | three Caskets. | Written by W. Shakespeare. | [Heb Ddieu device] |
Printed by J. Roberts, 1600. [1619]

Second edition. A-K⁴; total, 40 leaves. Type-page, 6 ¼ x 3 ⅝".

Catchwords: A₂, *Salar*.; Bi, to; Ci, Yea; Di, What; Ei, Which; Fi, *With*; Gi, Ile; Hi, You; Ii, Comes; Ki, *Enter*.

COPIES.

BODLEIAN. 7 7/16 x 5 ½". The Malone (presented, 1821) copy. Inlaid and bound with Midsummer Night's Dream, Roberts, 1600, and other plays in Vol. IV. Pressmark, Malone, 35. [428]

BOSTON PUBLIC. 7 ⅜ x 5 ¼". Title mended in upper margin. The Rodd (sold, September 22, 1843), Barton (sold, May, 1873) copy. Bound in green morocco, by [Lewis]. [429]

BRITISH MUSEUM. 7 9/16 x 5 15/16". Blue chalk mark on title; B₃ torn in lower corner. The Garrick (bequeathed, January, 1779) copy. Bound in red straight-grained morocco, tooled sides, Garrick's arms on sides, many leaves uncut. Pressmark, C. 34. k. 23. [430]

BRITISH MUSEUM. 7 x 5 ⅜". Lower corners of sheets E-K papered over in most leaves. Numerous signatures on verso K₄; note on recto K₄: "This copy was used by S. I." Probably the Ireland (May 7, 1801, No. 466) copy. The King George III (presented, 1823) copy. Bound in half morocco. Pressmark, C. 12. g. 31. [431]

EDINBURGH UNIVERSITY. 6 ⅞ x 5 ¼". Ci-C₄, Gi-G₄, K₂-K₄ in facsimile; title extended in lower corner; A₂, A₃, extended upper and outer margins, injuring headlines. Halliwell's note: "This copy has a few leaves of text in facsimile, I gave Mr. Lacy £20 for an unbound copy wanting several leaves, I think the present copy, but I am not sure. As a rule, I do not retain* the original when I have a satisfactory lithographic FS. but an exception is made in this instance on account of the water-marks.

*This was a rule I was commencing to make, but did not keep long in that mind." The Halliwell (presented, 1872) copy. Bound in red levant morocco, by Bedford.

ELIZABETHAN CLUB. 6 15/16 x 5 ½". Huth book-plate. The Huth (November, 1911, No. 1213), Cochran (presented, December, 1911) copy. Bound in red morocco, by Bedford. [432]

ETON COLLEGE. 7 3/16 x 4 15/16". Some interleaves. The Storer (bequeathed, 1799) copy. Bound with other plays in Vol. II. [434]

FOLGER. 7 ⅜ x 5 ¼". Some early manuscript notes in margins. The Jennens (collected, c. 1740, bequeathed, 1773, to W. P. A. Curzon, ancestor of Lord Howe), Howe (sold, December, 1907) copy. Bound in half blue morocco. [435]

FOLGER. The Warwick copy. [436]
[437]

FURNESS. 7 ⅛ x 5 9/16". With manuscript titles of Heyes, 1600, and 1637, editions of Merchant of Venice in Capell's handwriting inserted at end and Capell's notes throughout. The Capell, Kinsman (sold, July, 1872) copy. Bound in green levant morocco, blue silk doublures and fly-leaves. [438]

[ 53 ]

[HUNTINGTON.] 6⅞ x 5 ½". Fi mended in lower blank margin. Locker manu-
script notes and book-plate. The Locker (sold, January, 1905), Dodd, Mead & Co.
(sold, April, 1905), Halsey (sold, December, 1915), copy. Bound in red levant
morocco, by Bedford. [439]

HUNTINGTON. 7 3/16 x 5 1/4". Church book-plate. The Church (sold, April, 1911) copy. Bound in red levant morocco, by Bedford. [440]

[HUNTINGTON.] 7 1/8 x 5 1/4". Long quotation from Stationers' Register on page opposite title by Kemble and "Collated & Perfect. J. P. K. 1798"; "This Edition is not so rare as that printed for Thomas Heyes, of the same date. See Vol. 120 of my collection. J. P. K." The Kemble (sold, 1821), Devonshire (sold, January, 1914), copy. Inlaid and bound with other plays in Vol. 119. [441]

MORGAN. 7 x 5 3/16". Birket Foster book-plate. The Foster (June, 1894, No. 24), Sotheby (December 14, 1906, No. 389), Thomas (sold, January, 1910) copy. Bound in red morocco, gilt gauffered edges. [380]

NEW YORK PUBLIC. 7 1/8 x 5 1/4". The H. Stevens (sold, December, 1855), Lenox (incorporated as Lenox Library, 1870; New York Public, May, 1895) copy. Bound in purple morocco. [443]

PERRY.] 7 x 5 1/4". The Gwynne, Goertz-Wrisberg (sold, August, 1902), Quar-
itch (sold, October, 1902) copy. Bound in old calf, with "Edward Gwynne" on
covers, in volume containing six genuine and three spurious plays. [444]

SHAKESPEARE BIRTHPLACE LIBRARY. 7 1/16 x 5 1/4". The Hussey (May, 1906, No. 377), Quaritch (sold, 1906) copy. Bound in red morocco, by Riviere. [445]

SHAKESPEARE BIRTHPLACE LIBRARY. 7 1/8 x 5 1/4". Ci and C₄ in fac-
simile; stained on margin. The Haggard (Sotheby, 1867, No. 211) copy. Bound
in old russia. [446]

TRINITY COLLEGE, CAMBRIDGE. 7 1/2 x 5 5/8". The Capell (presented, June, 1779) copy. Bound in brown calf, with other plays. Pressmark, Q. 11. 5. [447]

[TROWBRIDGE.] 7 1/4 x 5 5/16". K₃ and K₄ in facsimile; I₄, Ki, K₂, extended on outer margins; G₄ extended on lower outer corner. The Richmond (sold February, 26, 1896) copy. Bound in brown morocco. [448]

VALENTINE. [449]

WHITE, A. T. 6 3/4 x 4 5/8". A₃ extended in margin and mended; cropped at top, injuring some headlines. Signature and book-plate of John F. Marsh. The Marsh (May, 1882, No. 2410), Quaritch (sold, 1887) copy. Bound in brown straight-grained morocco, with Kinnear arms in gilt on covers. [450]

MERCHANT OF VENICE, 1637.

The most excellent | Historie of the Merchant | of Venice. | VWith the extreame crueltie of Shylocke | the Iewe towards the said Merchant, in | cutting a just pound of his flesh: and the ob-|taining of Portia by the choice | of three Chests. | As it hath beene divers times acted by the | Lord Chamberlaine his Servants. | Written by William Shakespeare. | [Orna-

[ 54 ]

TRINITY COLLEGE, CAMBRIDGE. 6 5/8 x 4 3/4". With Ai. Wormhole in margin of Bi-G4. The Capell (presented, June, 1779) copy. Bound in brown calf, with other plays. Pressmark, W. 5. 5. [486]

MERRY WIVES OF WINDSOR, 1619.

A | Most pleasant and ex-cellent conceited Comedy, | of Sir Iohn Falstaffe, and the | merry VViues of VVindsor. | VVith the swaggering vaine of An-cient Pistoll, and Corporall Nym. | Written by W. Shakespeare. | [Heb Ddieu device] | Printed for Arthur Johnson, 1619.

Second edition. A-G⁴; total, 28 leaves. Type-page, 6 ½ x 3 ¾".

Catchwords: A₂, The; Bi, who; Ci, *Shal*.; Di, Throw; Ei, *Mis*.; Fi, Ile; Gi, *Fent*.

COPIES.

BALLIOL COLLEGE, OXFORD. 7 9/16 x 5 5/8". Title mounted, some corners injured and mended. Note on title: "Thomas Skynner 1621"; note: "Extracted from a book of plays, Arch M. 6. 12., and bound April 1864. Donald M. Owen librarian, Balliol." Bound in red morocco. [487]

BODLEIAN. 7 ½ x 5 ½". Hole in margin B₂ and B₃; Gi mended in margin; pinprickt pattern on title. The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. IV. Pressmark, Malone, 35. [488]

BOSTON PUBLIC. 7 3/16 x 5 1/4". Title mended in lower portion, date in fac-simile; wormholes mended on inner portions of some leaves. The Rodd (sold, December, 1846), Barton (sold, May, 1873) copy. Bound in green straight-grained morocco, by Lewis. [489]

BRITISH MUSEUM. 7 1/4 x 5 1/16". Slight damp stain throughout. The King George III (presented, 1823) copy. Bound in half morocco. Pressmark, C. 12. g. 24. [490]

BRITISH MUSEUM. 7 ½ x 5 7/8". Title browned; A₄ mended in inner margin; B₂, B₃, B₄, stained; D₄ corner mended. The Garrick (bequeathed, January, 1779) copy. Bound in green straight-grained morocco, Garrick's arms on sides. Pressmark, C. 34. k. 27. [491]

[CLAWSON] 7 ½ x 5 ¾". "B. Kelley, 1774" on fly-leaf; Dramatis Personnae in old handwriting on verso title; Hoe book-plate. The Kelley (1774), Pope (sold, June, 1895), Hoe (November, 1912, No. 2893), G. D. Smith (sold, 1914), copy. Bound in red levant morocco starred, inlaid with green, tan and brown in floral design, gilt tooling, doublore of same design on blue levant morocco starred, in green levant case, by Riviere. [492]

CRICHTON STUART. 7x5". Stained. Half green mor. [493]
[DODD] 7 1/16 x 5 1/4". The Hussey (Sotheby, May 28, 1906, No. 381) copy. Bound in red levant morocco, by Club Bindery, 1906. [494]

DYCE COLLECTION. 7 x 5 1/8". Writing inked out on Fi verso and F₂ recto; scribbling on title; "C.P. A. Dyce". The Dyce (bequeathed, 1869) copy. Bound in red morocco extra, by Murton. Name cut from fore-edge. [495]

VAN SINDERIN.

brown

C. Lawson (may 1926, n. 718, 3900.) copy

$825.

£295.

of title probably "Johanne" [ 60 ] Brelver this Book 1659'

MERRY WIVES OF WINDSOR, 1619.

ELIZABETHAN CLUB. 6 15/16 x 4 7/8". Huth book-plate. The Huth (November, 1911, No. 1205), Cochran (presented, December, 1911) copy. Bound in red straight-grained morocco. [496]

FOLGER. 7 1/8 x 5 1/4". A few leaves stained. The Jennens (collected, c. 1740, bequeathed, 1773, to W. P. A. Curzon, ancestor of Lord Howe), Howe (sold, December, 1907) copy. Bound in half blue morocco. [497]

FOLGER. The Gott (sold through Sotheran, 1907) copy. Bound in half red morocco, by Lewis. [498]

FOLGER. Lower corner of two leaves torn. The Sotheby (March 16, 1903, No. 1263) copy. Bound in morocco, blue paper,[499]

FOLGER. Title damaged. The Warwick copy. mornel/ mended. [500]

FOLGER. The Quaritch (sold, 1895), Jonas (sold, May, 1903) copy. Bound in morocco, by Riviere. [501]

HUNTINGTON. 7 1/16 x 5 3/8". With note written on the inlay: "This is the second Edition of the Merry Wives of Windsor which I have collated with the first printed in 1602. J. P. Kemble." "Collated & Perfect. J. P. Kemble. 1792." The Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Inlaid and bound with other plays in Vol. 119. [502]

HUNTINGTON. 7 3/16 x 5 3/8". Locker and Church book-plates. The Locker (sold, January, 1905), Church (sold, April, 1911) copy. Bound in red straight-grained morocco, by Bedford. [503]

MORGAN. 7 x 5". The Pierce (sold, September, 1891), Irwin (sold, March, 1900) copy. Bound in blue levant morocco, brown levant morocco doublure, gilt tooling, by Motte. [504]

NEW YORK PUBLIC. 7 1/16 x 5 3/8". Manuscript corrections in old hand throughout. The H. Stevens (sold, December, 1855), Lenox (incorporated as Lenox Library, 1870; New York Public, 1895) copy. Bound in red morocco, gilt tooling, by Mackenzie. [505]

PERRY. 7 x 5 1/4". The Gwynne, Goertz-Wrisberg (sold, August, 1902), Quaritch (sold, October, 1902) copy. Bound in old calf with "Edward Gwynne" on covers, in volume containing six genuine and three spurious plays. [506]

QUARITCH. 7 1/8 x 4 7/8". Ci mended in lower margin. The Winans copy. Bound in red levant morocco, by Bedford. [507]

QUARITCH. 6 5/8 x 4 7/8". Bound in red levant morocco, by Riviere. [508]

SHAKESPEARE BIRTHPLACE LIBRARY. 7 3/16 x 5 3/16". G2-G4 extended in margins; D2 mended in margin. The Van Antwerp (March, 1907, No. 199), Quaritch (sold, January, 1908) copy. Bound in red morocco, by Bedford. [509]

SHAKESPEARE MEMORIAL LIBRARY. 7 x 5 1/4". Title, B2, B3, in facsimile; A2-Bi, B4-E4 extended in lower corner; G1-G4 stained and mended in margin. The Halliwell (Sotheby, July, 1889, No. 906) copy. Bound in red levant morocco, by Bedford. [510]

TRINITY COLLEGE, CAMBRIDGE. 7 1/2 x 5 5/8". C2 torn at top. The Capell (presented, June, 1779) copy. Bound in brown calf, with other plays. Pressmark, Q. 11. 2. [511]

[ 61 ]

[TROWBRIDGE.] 6 7/8 x 5". This Ives (March, 1891, No. 891) copy, purchased, March 10, 1896. Bound in red levant morocco, green levant morocco doublure, by Lortic. $1.43 To Stephenson [512]

[WHITE.] 6 5/8 x 4 5/8". "George Steevens" on title; Roxburghe arms on verso title. The Steevens (May, 1800, No. 1282), Roxburghe (May, 1812, No. 3804), Perkins (July, 1889, No. 1705) copy. Bound in red morocco, Perkins's arms in gilt on covers. $42 To search for while [513]

WINDSOR CASTLE. 7 1/4 x 5 5/8". Unbound. [514]

MERRY WIVES OF WINDSOR, 1630.

The | Merry VVives | of Windsor. | With the humours of Sir Iohn Falstaffe, | As also the swaggering vaine of Ancient | Pistoll, and Corporall Nym. | Written by William Shake-Speare. | Newly corrected. | [Ornament] | London: | Printed by T. H, for R. Meighen, and are to be sold | at his Shop, next to the Middle-Temple Gate, and in | S. Dunstans Church-yard in Fleet-street, | 1630.

Third edition. A-K⁴; total, 40 leaves. K⁴ blank. Type-page, 6 1/2 x 3 1/2".

Catchwords: A₂, *Shal*.; Bi, *Slender*.; Ci, Gentleman; Di, any; Ei, water; Fi, *Master*; Gi, I; Hi, *Mist*; Ii, of; Ki, *Euens*.

COPIES.

BODLEIAN. 7 7/16 x 5 1/2". Small piece off lower margin of Ia. The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. II. Pressmark, Malone, 33. [515]

BOSTON PUBLIC. 7 3/16 x 5 3/16". Wormhole through some leaves; manuscript notes at sides in old handwriting. The Barton (sold, May, 1873) copy. Bound in half red calf. [516]

[BRIDGEWATER HOUSE.] 7 1/8 x 5 1/8". Cropped at top, injuring some headlines. Acquired prior to 1649 when it was catalogued by John, Second Earl of Bridgewater. Bound in calf, with arms of the Marquis of Stafford, [by Murton] [517]

BRITISH MUSEUM. 7 x 4 3/4". Soiled and a few small tears and mends. The Garrick (bequeathed, January, 1779) copy. Bound in red straight-grained morocco, Garrick's arms on back. Pressmark, C. 34, k. 28. [518]

CRICHTON STUART. The Steevens copy. 7 x 5 1/8". [519]

EDINBURGH UNIVERSITY. 6 7/8 x 4 11/16". Cropped at foot, injuring some signatures and catchwords. "George Steevens" on title; Roxburghe arms on verso; "Thos. Jolley, 1812" on fly-leaf and Jolley book-plate inside cover; Halliwell's notes: "This was the Roxburghe copy. . . . This ed. is very much rarer than the previous one of 1619. For ten copies of ed. 1619 not more than one of ed. 1630 can be found." The Steevens (May, 1800, No. 1283), Roxburghe (May, 1812, No. 3805), Jolley (June, 1844, No. 601), Halliwell (presented, 1872) copy. Bound in half calf. [520]

[ 62 ]

[HUNTINGTON.] 6 ⅝ x 4 ⅜". C₂, C₃, H₂, H₃, lacking; cropped at top, injuring some headlines. The Bunbury (exchanged, 1823), Payne & Foss (sold, 1823), Devonshire (sold, January, 1914). [copy. Inlaid and bound with Hamlet, 1603, in Vol. 542.] [531]

TRINITY COLLEGE, CAMBRIDGE. 7 ⅛ x 5 ⅝". Title torn in outer margin. Note by Theobald on title: "Collated with the other Old Quarto, with the same Title, printed by James Roberts in 1600. L. T." The collations are entered in the margins. The Theobald (sold, October, 1744), Capell (presented, June, 1779) copy. Bound in brown calf, with other old plays. Pressmark, S. 27. 3. [532]

A MIDSUMMER NIGHT'S DREAM, 1600 [1619].

[Ornament] A | Midsommer nights | dreame. | As it hath beene sundry times pub-|likely acted by the Right Honoura-|ble, the Lord Chamberlaine his | seruants. | Written by William Shakespeare. | [Device] | Printed by Iames Roberts, 1600. [William Jaggard for Thomas Pavier, 1619]

Second edition. A-H⁴; total, 32 leaves. Type-page, 5 ⅞ x 3 ⅜".

Catchwords: A₂, A-; Bi, But; Ci, In; Di, How; Ei, Hit; Fi, Then; Gi, For; Hi, Pat.

COPIES.

BODLEIAN. 7 ½ x 5 ½". The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. IV. Pressmark, Malone, 35. [533]

BOSTON PUBLIC. 7 x 5 ¼". The Bright (March, 1845, No. 5102), Barton (sold, May, 1873) copy. Bound in brown morocco, by Mackenzie. [7.75s. 534]

BRITISH MUSEUM. 7 9/16 x 5 15/16". F₃ mended in lower margin. The Garrick (bequeathed, 1779) copy. Bound in straight-grained yellow morocco, Garrick's arms on sides. Pressmark, C. 34. k. 30. [535]

BRITISH MUSEUM. 7 ⅜ x 5 ¼". Sheet H stained in outer half. Early signatures of Edward Nedham and H. Cleaveland. The King George III (presented, 1823) copy. Bound in half morocco. Pressmark, C. 12. g. 30. [536]

[BRITWELL LIBRARY.] 7 ¾ x 5 ⅝". "George Steevens" on title; Gaisford book-plate. The Steevens, Tite (May, 1874, No. 2760), Craufurd (July, 1876, No. 1034), Gaisford (April, 1890, No. 1739) copy. Bound in green morocco, by Mackenzie. [537]

CRICHTON STUART. [538]

[DODD.] 6 15/16 x 5 5/16". Title extended in outer corners. Manuscript note on margin of F₂. The Sotheby (December 6, 1905, No. 927) copy. Bound in brown morocco. [4s]

EDINBURGH UNIVERSITY. 6 15/16 x 5". C₂-D₄ in facsimile; G₄ mended. The Halliwell (presented, 1872) copy. Bound in red levant morocco, by Bedford. [540]

ELIZABETHAN CLUB. 7 x 5 ⅛". Three leaves stained. The Cochran (presented, December, 1911) copy. Bound in green levant morocco, by Riviere. [541]

[ 66 ]

OTHELLO.

OTHELLO, 1622.

The | Tragædy of Othello, | The Moore of Venice. | As it hath beene diuere times acted at the | Globe, and at the Black-Friers, by | his Maiesties Seruants. | Written by William Shakespeare. | [Okes's device] | London, | Printed by N. O. for Thomas Walkley, and are to be sold at his | shop, at the Eagle and Child, in Brittans Bursse. | 1622.

First edition. A²; B-M⁴; N²; total, 48 leaves. Type-page, 6 7/16 x 3 ½".

Catchwords: Bi, More; Ci, In; Di, And; Ei, *Enter*; Fi, For; Gi, *Cas.*; Hi, Your; Ii, *Des.*; Ki, *Iag.*; Li, And; Mi, *Des.*; Ni, *Oth*.

COPIES.

BODLEIAN. 6 ¾ x 4 ⅝". Small wormhole in top margin throughout; title badly stained. Note by Malone: "In Pope's list he gives the title of this play (of which he had only one copy) exactly as it stands here, except that he has given no date, from which it has been supposed that there is another edition published by Thos. Walkley without a date, and not long after Shakespeare's death. Perhaps the date was cut off from his copy. In 70 years no undated copy of this play has been discovered, which makes me doubt whether it ever existed. The Quarto copies which had belonged to Pope, afterwards fell into the hands of Warburton, who put them into Mallet's Sale in 1766; but I know not to whom they were sold. If they could be recovered, this point might be ascertained. That Pope's copy had no date appears from his *inferring* from Walkley's preface that the play was published soon after Shakespeare's death: which he need not have done if his copy had had the date; but I have no doubt that the date was wanting merely by being cut off which frequently happens in old plays. The gentleman who possesses the two 4to vols above mentioned could ascertain the point". The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. V. Pressmark, Malone, 36. [573]

BOSTON PUBLIC. 6 ¾ x 4 13/16". Somewhat foxed. The Rodd (sold, Febru-
ary, 1838), Barton (sold, May, 1873) copy. Bound in green straight-grained
morocco, by Lewis. [574]

BRITISH MUSEUM. 6 13/16 x 4 5/8". Title cut close; cropped at top, injuring several headlines; very tender throughout. Purchased, July 10, 1857. Bound in red morocco. Pressmark, C. 34. k. 32. [575]

[ 71 ]

OTHELLO, 1681.

LINCOLN COLLEGE, OXFORD. 8 ½ x 6 ¾". Last leaf torn. Bound with "Hamlet," 1676, in brown leather. Pressmark, Q. v. l. (2). [635]

ROSENBACH [PERRY.] 8¼ x 6¼". Book-plate of Sir William Horton, Chaderton. Bound in old half calf, with other plays. [636]

UNIVERSITY OF MICHIGAN. 8 7/16 x 6 3/8". Foxed. The Anderson (October 27, 1911, No. 135) copy. Unbound. [637]

HARVARD [WHITE.] 8 5/8 x 6 ½". Purchased, March, 1892. Bound in half red levant morocco. [638]

OTHELLO, 1687.

Othello, The Moor of Venice. A Tragedy. As it hath been divers times Acted at the Globe, and at the Black-Friers: And now at the Theatre Royal, by His Majesties Servants. Written by William Shakespeare. London, Printed for Richard Bentley and S. Magnes in Russell-Street near Covent-Garden, 1687.

Fifth edition. 2 leaves without signatures; B-K⁴; L²; total, 40 leaves. Type-page, 7 7/8 x 4 15/16".

Catchwords: A₂, Dram-; Bi, *Rod*.; Ci, You; Di, Lieutenant; Ei, *King*; Fi, *Enter*; Gi, *Oth*.; Hi, (*Exeunt*.) *Actus*; Ii, Patience; Ki, *Cas*.; Li, So.

COPIES.

BIRMINGHAM. 8 ½ x 6 9/16". The R. Smith (sold, 1881) copy. Bound in half morocco, by Hawkins, Birmingham. [639]

BOSTON PUBLIC. 8 5/16 x 6 7/16". Cropped at foot, injuring some catchwords. The Barton (sold, May, 1873) copy. Bound in half calf. [640]

BRITISH MUSEUM. 8 ¾ x 6 ¼". Title backed and mended; F₃ torn; Li and L₂ mended; some leaves uncut at foot. Probably the Marsh (May, 1882, No. 2421) copy. Bound with other plays in half calf. Pressmark, 841. c. 22. [641]

FOLGER. The Halliwell Rarities (sold, January, 1897, No. 120), Perry (sold, March, 1907) copy. Bound in half brown morocco. [642]

NEW YORK PUBLIC. 8 7/16 x 6 ½". The Duyckinck (presented, 1878) copy. Bound with collection of plays in 1916, now unbound. [643]

UNIVERSITY OF MICHIGAN. 8 5/16 x 6 1/8". The Sutheran (sold, 1893) copy. Bound in half green calf. [644]

HARVARD [WHITE.] 8 5/8 x 6 ¼". Purchased, April, 1903. Bound in calf. [645]

OTHELLO, 1695.

Othello, The Moor of Venice. A Tragedy. As it hath been divers times Acted at the Globe, and at the Black-Friers: And now at the Theatre Royal, by His Majesties Servants. Written by William Shakespeare. London, Printed for Richard Bentley, in Russell-Street near Covent-Garden, 1695.

[ 77 ]

RICHARD II, 16 15.

COPIES.

BODLEIAN. 7 x 4⅞". Note by Malone: "D4. York. Should I do so, I should bely my thought. This line is wanting in the folio. *This* therefore was probably not the copy the editor printed from. M." Portrait of Richard II, by R. Elstrack "to be sold by Compton Holland" (probably from the Basiliologia), inserted facing title. The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. I. Pressmark, Malone, 32. [692]

BOSTON PUBLIC. 6 1¼/₁₆ x 4 ⅞". Title mended; cropped at top, injuring some headlines. The Jadis (March, 1828, No. 157), Rodd (sold, 1842), Barton (sold, May, 1873) copy. Bound in dark green straight-grained morocco, by Lewis. [693]

BRITISH MUSEUM. 6 ¾ x 5". Cropped at top, injuring most headlines; two large holes in Bi clumsily mended. "John Bancroft" on title; writing on H₂-H₄. The Garrick (bequeathed, January, 1779) copy. Bound in red morocco, Garrick's arms on back. Pressmark, C. 34. k. 44. [694]

CLAWSON. 6 ¾/₁₆ x 4 ⅞". Cropped at foot, injuring some signatures. Hoe book-plate. The Pope (sold, June, 1895), Hoe (April, 1911, No. 2974), G. D. Smith (sold, 1915) copy. Bound in brown levant morocco, with brown levant doublure, brown silk fly-leaves, by Rivière. [695]

CRICHTON STUART. The Steevens copy (not in sale). [696]

EDINBURGH UNIVERSITY. 6 15/16 x 5 ¼". F3 in facsimile; Ki extended in lower corners. The Windus (March, 1868, No. 909), Halliwell (presented, 1872) copy. Bound in red morocco. [697]

FOLGER. The Gott (sold through Sotheran, 1906) copy. Bound in red morocco, by Lewis. Hayday. [698]

FOLGER. Thick paper. The Halliwell (June, 1859, No. 339), Tite (May, 1874, No. 2774) copy. Bound in red morocco, by Bedford. [699]

HUNTINGTON. 6 11/16 x 4 ⅝". "George Steevens" on title and his manuscript notes in book; Roxburghe arms on verso title; signature of J. F. Marsh; Locker and Church book-plates. The Steevens (May, 1800, No. 1292), Roxburghe (May, 1812, No. 3830), Marsh (May, 1882, No. 2416), Locker (sold, January, 1905), Church (sold, April, 1911) copy. Bound in half red calf. [700]

HUNTINGTON. 6 ⅝ x 4". Badly cropped at top and foot, injuring some headlines, catchwords and signatures; title stained. "Collated & Perfect. J. P. K. 1802"; "An Bosvil"; Remains of a number "2077" at top of title. The Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Inlaid and bound in crimson levant morocco, by Birdsall. [701]

NEW YORK PUBLIC. 7 x 4⅞". Title mended. "Jo. Ffowle, 1675. Nulla dies linea J. fflow." on B2, in old handwriting. The H. Stevens (sold, December, 1855), Lenox (incorporated as Lenox Library, 1870; New York Public, 1895) copy. Bound in brown levant morocco, with Kinnear arms in gilt on sides. [702]

TRINITY COLLEGE, CAMBRIDGE. 7¼ x 5¼". Title and first page of text collated in red by Capell with the 1608 edition; other corrections throughout but probably not exhaustive. The Capell (presented, June, 1779) copy. Bound in brown calf, with other old plays. Pressmark, R. 19. 2. [703]

WHITE. 6 ⅞ x 5 ¾". K₂ and K₃ lacking and replaced in manuscript; title torn in margin. The Sotheby (July 13, 1908, No. 89) copy, Unbound. [704]

£106. To Decareth for [85] White (White Estate presented June, 1928) Copy. - Orig. bound in two ms. & other places, now unbound.

RICHARD II, 1634.

The | Life and | Death of King | Richard the | Second. | With new Additions of the | Parliament Scene, and the | Deposing of King Richard. | As it hath beene acted by the Kings Majesties | Servants, at the Globe. | By William Shakespeare. | [Ornament] | London, | Printed by Iohn Norton. | 1634.

Sixth edition. A-K⁴; total, 40 leaves. Type-page, 6 ½ x 3 9/16".

Catchwords: A₂, *Enter*; Bi, Thou; Ci, *Bul.*; Di, I; Ei, *Percy*; Fi, The; Gi, Speake; Hi, *Car.*; Ii, And; Ki, His.

COPIES.

BODLEIAN. 6 ¾ x 4 ¾". C₄, E₂, E₃, E₄ torn, injuring some words; cropped at top, injuring some headlines; several stains. Purchased, 1830. Bound in calf. Pressmark, Malone, 877. [705]

BOSTON PUBLIC. 7 ¾ x 5 ¼". Slightly stained; title extended on inner and lower margins and mended; K₄ mended and extended on all margins except foot. "Thos. Jolley, 1809" on fly-leaf and his book-plate. The Jolley (June, 1844, No. 591), Burton (October, 1860, No. 4615), Barton (sold, May, 1873) copy. Bound in half leather. [706]

BRITISH MUSEUM. 6 ⅞ x 4 ¾". Title mended; either headlines or catch-words cut into on many leaves; small holes in F₃. A₂ verso, beginnings of eight lines inked over by hand. The Garrick (bequeathed, January, 1779) copy. Bound in red morocco, Garrick's arms on back. Pressmark, C. 34. k. 45. [707]

BRITISH MUSEUM. 6 ¾ x 4 ¾". Title, A₂-A₄ lacking; cropped throughout, injuring headlines; Bi mended; C₄, H₂, K₂, K₃, mended in margins; text of sheet A supplied in six leaves. The King George III (presented, 1823) copy. Bound in half morocco. Pressmark, C. 12. g. 19. [708]

[BRITWELL LIBRARY.] 8 ⅛ x 5 ⅞". With five old signatures on title; "frances wolfreston her book" on A₂; manuscript note by W. Tite: "This copy of Shakespeare's play, of Richd. the 2d. was bought by me at Messrs Sotheby & Wilkinsons at a sale 24 May 1856 of which I preserve the Catalogue (oddly enough misprinted 1586). The Play is in the state in which they were sold for 1/ at the time. I gave £13. 13. 0. & I chose it as being the best of several in the same plight, it was Lot 353 of this sale. W. Tite." The Sotheby (May 24, 1856, No. 353), Tite (May, 1874, No. 2775) copy. Uncut, unbound. [709]

CRICHTON STUART. [710]

[DODD.] 7 ⅛ x 5 ¼". Some margins stained. Bound in wine colored levant morocco, by Riviere. [711]

DYCE COLLECTION. 7 ⅜ x 5 ¼". A₃, A₄, B₃, C₃, C₄, D₃, D₄, E₃, E₄, F₃, F₄, G₃, G₄, H₃, H₄, extended on outer margin about 1 ⅜"; title browned. "C. P. A. Dyce". The Dyce (bequeathed, 1869) copy. Bound in calf. [712]

ETON COLLEGE. 7 ¼ x 5 ⅛". Cropped at top, injuring some headlines. "5652" on title. The Storer (bequeathed, 1799) copy. Bound with Taming of the Shrew, 1631, and other plays in Vol. IV. [713]

FOLGER. The Halliwell Rarities (sold, January, 1897, No. 13), Perry (sold, March, 1907) copy. Bound in olive morocco, by Malthy of Oxford. [714]

A few heads cropped.

[ 86 ]

RICHARD III.

RICHARD III, 1597.

[Ornament] The Tragedy of | King Richard the third. | Containing, | His treacherous Plots against his brother Clarence: | the pittiefull murther of his inocent nephewes: | his tyrannicall vsurpation: with the whole course | of his detested life, and most deserued death. | As it hath beene lately Acted by the | Right honourable the Lord Chambe-laine his seruants. | [Ornament] | At London | ¶Printed by Valentine Sims, for Andrew Wise, | dwelling in Paules Chuch-yard, at the | Signe of the Angell. | 1597.

First edition. A-M⁴; total, 48 leaves. M₁ blank. Type-page, 6 ⅜ x 3 ⅜.

Catchwords: A₂, I am; Bi, *La*.; Ci, *Glo*.; Di, Ile; Ei, *Enter*; Fi, Then; Gi, Who; Hi, When; Ii, *King*.; Ki, bloudie; Li, These; Mi, Me.

COPIES.

BODLEIAN. 6 ⅞ x 4 ¼". Ci, C₂, D₄, L₄, Mi, M₂, M₃, lacking and are supplied from the edition of 1598; cropped at top, injuring headlines on A₃, Hi-H₃, Ii; C₄, Li-L₃, mended; B₄, K₄, Li, stained; portrait of Lord Hunsdon inserted to face A₂. Malone's note: "This copy of the original edition of King Richard III was imperfect, when I purchased it, wanting Signat. Ci and 2, D₄, L₄, Mi, 2 & 3. These seven leaves I have supplied from a later copy (that of 1598) and have collated with the edition of 1597. The variations are set down in the margins. It is remarkable that the name of the author does not appear on the title-page, a presumptive proof that he had not in 1597 arrived to so high reputation as he undoubtedly afterwards acquired. Mr. Penn Ashton Curzon and Mr. Kemble are possessed of copies of this original edition of this play. I know of no other except that in this volume." The Malone (presented, 1821) copy. Inlaid and bound in tree calf, "E. M." on covers, with other plays in Vol. VI of the collection. Pressmark, Malone, 37. [722]

BRITISH MUSEUM. 6 ⅞ x 5 ¼". Bi, B₄, some places in inner margin made good; A₃ small rust hole mended; K₂, K₃ cropped at top, injuring headlines. Huth book-plate and Huth Bequest stamp. The Nixon (May, 1818, No. 649), Heber (June, 1834, No. 5463), Daniel (July, 1864, No. 1427), Huth (bequeathed, April, 1911) copy. Bound in purple morocco with "G. D." monogram on covers. Pressmark, Huth, 47. [723]

[ 89 ]

ELIZABETHAN CLUB. 7 ¾ x 5 ⁹⁄₁₆". Ci-C₄, Di-D₄, eight leaves in all, uncut and unsewed as originally printed; mounted on large quarto sheets. Stamp of British Museum duplicates. Exchanged with British Museum which took the perfect copy from the Huth collection and substituted this; Huth (November, 1911, No. 1192), Cochran (presented, December, 1911) copy. Bound in red levant morocco, elabo-rate gilt tooling. [724

FOLGER. 7 ¼ x 5”. Title mended in margins; A₄ mended in lower outside corner, four lines defective. The Jennens (collected, c. 1740, bequeathed, 1773, to W. P. A. Curzon, ancestor of Lord Howe), Howe (sold, December, 1907) copy. Bound in half blue morocco. [725

HUNTINGTON. 6 15⁄16 x 4 3⁄16". Cropped at top, injuring some headlines. "Collated & Perfect, J. P. K. 1798". The Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Inlaid and bound with other plays in Vol. 120. [726

RICHARD III, 1598.

The | Tragedie | of King Richard | the third. | Containing his treacher-
ous Plots against his | brother Clarence: the pitiful murther of his innocent |
Nephewes: his tyrannicall vsurpation: with | the whole course of his de-
tested life, and most | deserued death. | As it hath beene lately Acted by
the Right honourable | the Lord Chamberlaine his seruants. | By William
Shake-speare. | [Creede's device] | London | Printed by Thomas Creede,
for Andrew Wise, | dwelling in Paules Church-yard, at the signe | of the
Angell. 1598.

Second edition. A-M⁴; total, 48 leaves. M₄ blank. Type-page, 6 ½ x 3 ⅜".

Catchwords: A₂, I am; Bi, *La*.; Ci, *Glo*.; Di, Ile; Ei, *Enter*; Fi, Then; Gi, Who; Hi, When; Ii, *King*; Ki, Bloudie; Li, These; Mi, Me.

COPIES.

BODLEIAN. 7 ⅜ x 5 ⅜". Title extended on lower margin and mended; A₄ re-margined front and foot: margins mended throughout, injuring some words on A₃; wormhole mended in lower inner corner, Bi-Di; Heber stamp and note on fly-leaf: "July 1816, Bt. of Whites stock G. Saunders £ 5.7.6." The Heber (June, 1834, No. 5464) copy. Bound in red straight-grained morocco. Pressmark, Malone, 879. [727

[BRIDGEWATER HOUSE.] 7 ⅜ x 5 ⅛". Acquired prior to 1649 when it was catalogued by John, Second Earl of Bridgewater. Bound in green morocco, with arms of the Marquis of Stafford, by Murton. [728

BRITISH MUSEUM. 6 ¾ x 5 ¼". M₂ and M₃ lacking and replaced in facsimile. Cropped top and foot, injuring last line of text on verso of A₂ and I₂, and many headlines, signatures and catchwords. The Garrick (bequeathed, January, 1779) copy. Bound in red morocco, Garrick's arms on sides. Pressmark, C. 34. k. 47. [729

BRITISH MUSEUM. 7 ¾ x 5 ½". Lacking title, replaced in facsimile. G₂ has slight mend and small hole; I₂ mended; scribble on B₃. The Halliwell (sold, November 9, 1858) copy. Bound in red morocco. Pressmark, C. 34. k. 46. [730

[ 90 ]

detested life, and | most deserued death. | As it hath bin lately Acted by the
Right Honourable | the Lord Chamberlaine his seruants. | Newly aug-
mented, | By William Shake-speare. | [Creede's device] | London, |
Printed by Thomas Creede, and are to be sold by Mathew | Lawe, dwelling
in Paules Church-yard, at the Signe | of the Foxe, neare S. Austins gate,
1605.

Fourth edition. A-L⁴; M²; total, 46 leaves. Type-page, 6 7/16 x 3 9/16".

Catchwords: A₂, By; Bi, La; Ci, I can; Di, 2 Ile; Ei, Enter; Fi, Ile; Gi, Haft.; Hi, Glo.; Ii, And; Ki, Qu.; Li, By; Mi, And.

COPIES.

BODLEIAN. 7 ¼ x 5 ¼". A₄, D₄ extended in lower outer corner; B₃ mended and strengthened in upper margin; Bi-C₃ extended in upper outer corner; Ei, E₂, Fi, I₄-M₂ extended and strengthened in upper inner corner; wormhole mended in B₄-Di. Purchased, 1840. Bound in half calf, marbled paper sides. Pressmark, Malone, 880. [737]

BRITISH MUSEUM. 7 x 5". A few slight stains. Manuscript notes by Halliwell: "Cost me £84" and "A perfect copy of this most rare edition, which is not even noted in any bibliographical list, was unknown to all the older commentators, & first mentioned in Collier's recent edition. The only other known copy is in the Bodleian." The Halliwell (sold, November 9, 1858) copy. Bound in red morocco. Pressmark, C. 34. k. 49. May 18, 1915. To Elton White for return. [738]

HUNTINGTON. 7 ½ x 5 5/16". Title, Mi and M₂ in facsimile. Locker and Church book-plates. The Title (June, 1874, No. 27774) Locker (sold, January, 1905), Church (sold, April, 1911) copy. Bound in red levant morocco, by Bedford. [739]

PERRY. 6 ⅞ x 4 13/16". Cropped at top, injuring some headlines; lower outer corners worn off. With signature of Admiral William Penn in five places. The Penn (c. 1670), Carrington, Sotheby (July 10, 1905, No. 1004) copy. Bound in boards, in silk case. [740]

RICHARD III, 1612.

The | Tragedie | of King Richard | the third. | Containing his treacher-
ous Plots against his brother | Clarence: the pittifull murther of his innocent
Ne-[phewes: his tyrannicall vsurpation: with the | whole course of his
detested life, and | most deserued death. | As it hath beene lately Acted by
the Kings Maiesties | seruants. | Newly augmented, | By William Shake-
speare. | [Creede's device] | London, | Printed by Thomas Creede, and
are to be sold by Mathew | Lawe, dwelling in Pauls Church-yard, at the
Signe | of the Foxe, neare S. Austins gate, 1612.

Fifth edition. A-L⁴; M²; total, 46 leaves. Type-page, 6 9/16 x 3 3/4".

Catchwords: A₂, By; Bi, La.; Ci, I can; Di, 2. Ile; Ei, Enter; Fi, Ile; Gi, Hast.; Hi, Glo.; Ii, And; Ki, Qu.; Li, By; Mi, And.

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RICHARD III, 1612.

COPIES.

BODLEIAN. 7 x 4 7/8". K3 verso, last two lines, part of text caught off by paste. Facing title is a portrait of Richard III from "Basiliologia," also an impression in red wax from a seal with note above: "This impression was taken from the seal of Richard the Third, which was dug up some years ago in Bosworth Field, and fell into the hands of the late Dr. Lort. A boar was Richard's cognizance. E. M." Note on verso title: "The title-page of the original edition of this play printed in 1597, corresponds with that at the other side to the word death; after which follows 'As it hath been lately acted . . . 1597'. The words *newly augmented* first appeared in the titlepage of the edition printed in 1602, which was, I believe, the copy principally followed in printing the folio. This copy has been collated with the edition of 1598, and the various readings are in the margin. From this collation it appears that the errors of omission in this copy (to say nothing of the other numerous faults) are no less that twenty six: a striking proof of the value of first editions, and of what I have so often stated in my edition, that omission of words (and sometimes of lines) is one of the most common errors of the press. E. M. Since the above collation was made, I have met with the edition of 1597, and collated it. The variations between the copy of 1597 and that of 1598 are set down, and are distinguished by being written in imitation of print. Since I wrote the above I have got a copy of this 1st edition. See it in Vol. vi." The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. I. Pressmark, Malone, 32. [741]

BRITISH MUSEUM. 6 7/8 x 4 11/16". Title and some catchwords covered by inlay so that the date is gone from title. Indistinct names on title, some leaves stained. The King George III (presented, 1823) copy. Inlaid throughout and bound in half morocco. Pressmark, C. 12. h. 10. [742]

CRICHTON STUART. L. Theobald's signature. The Theobald, Steevens, Bute-copy. [743]

EDINBURGH UNIVERSITY. 6 15/16 x 5". Cropped at foot, cutting off last line of title and some signatures, catchwords and last lines of text; with A2, A3, Bi, Ei, G2, H4, I4, Ki, K4, in duplicate at end. Halliwell's note on fly-leaf: "Perfect but some of the lower lines are cut into. The 9 leaves at the end are from an imperfect copy of the same edition, here inserted to show variations. Malone's copy is also cut into. There is no copy of it in the British Museum, the statements of Bohn & Hazlitt to the contrary being erroneous. It is in fact of great rarity." Halliwell is wrong in this note and Bohn and Hazlitt were right, the British Museum possessed at that time and still owns the King George III copy. The duplicate leaves at the end were taken from the copy now in the possession of Mr. Furness. The Halliwell (presented, 1872) copy. Bound in brown levant morocco, by Bedford. [744]

FURNESS. 7 x 5 1/8". Fragment only, lacking title, A2-A4, Bi, Ei, G2, H4, I2-M2. Presentation inscription from J. O. Halliwell to H. H. Furness. The Halliwell (presented, December, 1871) copy. Bound in half calf. [745]

HUNTINGTON. 7 3/8 x 4 13/16". Ai-A4, and M2 are supplied from a shorter copy. Locker and Church book-plates. The Locker (sold, January, 1905), Church (sold, April, 1911) copy. Bound in green levant morocco, by De Coverly. [746]

NEW YORK PUBLIC. 6 3/4 x 4 13/16". Last line of title including date cut off; cropped at foot, injuring last line of M2 and signatures throughout. "George Steevens" on title; Roxburghe arms on verso title. The Steevens (May, 1800, No.

[ 93 ]

DYCE COLLECTION. 7 3/8 x 5 1/8". Title mended in lower inner margins; many pages soiled. "C. P. A. Dyce". The Dyce (bequeathed, 1869) copy. Bound in calf. [760]

EDINBURGH UNIVERSITY. 6 3/4 x 4 11/16". L3-M2 in facsimile; title extended in upper margin; cropped top and foot, injuring signatures, headlines and catchwords. With duplicate page, verso of I2, pasted in back. The Halliwell (presented, 1872) copy. Bound in green levant morocco, by Bedford. [761]

FOLGER. 7 1/8 x 5". Two margins mended; slightly stained. The Jennens (collected, c. 1740, bequeathed, 1773, to W. P. A. Curzon, ancestor of Lord Howe), Howe (sold, December, 1907) copy. Bound in half blue morocco. [762]

FOLGER. From the library of a German noble whose ancestor bought plays in England 150 years ago. The Sotheby (July 13, 1909, No. 323) copy. Bound with Henry IV, 1632, and other plays. [763]

FOLGER. Title, B2 and B3 in facsimile. [13] 8 1/2 x 5 1/4". [345]. [764]

HUNTERIAN MUSEUM, GLASGOW. Size not given. Closely cropped top and bottom. Bound with works by other authors. Pressmark, Co. 3. 32. [765]

NEW YORK PUBLIC. 7 1/4 x 5 5/16". Dramatis Personnae in old handwriting on verso title. The H. Stevens (sold, December, 1855), Lenox (incorporated as Lenox Library, 1870; New York Public, May, 1895) copy. Bound in red morocco, by Mackenzie. [766]

TRINITY COLLEGE, CAMBRIDGE. 6 3/4 x 5". Cropped at bottom, cutting off most of signatures; stains on top margins of many leaves. The Capell (presented, June, 1779) copy. Bound in brown calf, with other old plays. Pressmark, T. 8. 5. [767]

[WHITE.] 6 15/16 x 5". Cropped top and foot, injuring some headlines, signatures, catchwords and last lines of text. The Sotheby (July 28, 1903, No. 491) copy. Bound in maroon levant morocco, by Club Bindery for Mr. White. [768]

RICHARD III, 1634.

The | Tragedie | of | King Richard | the Third. | Contayning his treacherous Plots, a-|gainst his brother Clarence: The pitifull | murder of his innocent Nephewes: his | tyranous vsurpation: with the | whole course of his detested life, | and most deserued death. | As it hath beene Acted by the Kings | Maiesties Seruants. | VVritten by William Shake-speare. | [Ornament] | London, | Printed by Iohn Norton. 1634.

Eighth edition. A-L⁴; M²; total, 42 leaves. A₂ and K₃ are wrongly marked A₃ and C₂. Type-page, 6 9/16 x 3 5/8".

Catchwords: A₃ (should be A₂), By; Bi, Lady; Ci, I can; Di, 2 ile; Ei, Enter; Fi, Ile; Gi, Hast.; Hi, Or; Ii, Kin; Ki, Qu.; Li, But; Mi, In.

COPIES.

BIRMINGHAM. 6 3/4 x 5 1/16". Di-D₄ extended on outer blank margins; some headlines cropped. Notes on margins throughout. The R. Smith (sold, March, 1884) copy. Bound in green levant morocco, by Hammond. [769]

[ 96 ]

ROMEO AND JULIET.

ROMEO AND JULIET, 1597.

An | Excellent | conceited Tragedie | of | Romeo and Iuliet. | As it hath been often (with great applause) | plaid publiquely, by the right Honourable the L. of Hunsdon | his Seruants. | [Danter's device] | London, Printed by Iohn Danter. | 1597.

First edition. A-K⁴; total, 40 leaves. Title, A₂. Type-page, 6 ⅜ x 3½".

Catchwords: Bi, *Mount*; Ci, *Rom:Nay*; Di, That; Ei, fights; Fi, *Mer*.; Gi, *Rom*.; Hi, I; Ii, choose; Ki, Heape.

Text breaks between D4r and E1-

COPIES.

BODLEIAN. 7 ⅛ x 4 ¾". Corner of margin off Di, D₂, H₄, Mi; F₃ and Gi stained. With autograph of George, Lord Hunsdon, inserted facing L₂; and note by Malone saying that this is the Lord Hunsdon mentioned in the title-page; above Prologue "Edward Holbeck His booke" and other writing. The copy had originally certain leaves missing and supplied from Capell's edition of 1766, but these defects were subsequently made good, and a bill of C. Lewis to Mr. Bandinel for inlaying and inserting leaves is pasted in front of volume. A leaf marked "A" is bound between Romeo, 1597, and Romeo, 1599, in this volume with a note in Mr. Madan's handwriting: "This leaf was found loose in front of title of Richard III in this volume but it can hardly belong to that play, 1833". The Malone (presented, 1821) copy. Bound in tree calf, with "E. M." on covers. Pressmark, Malone, 37. [786]

BRITISH MUSEUM. 6 ⅝ x 4 ¾". Title mended in lower portion; cropped at foot, injuring some signatures and catchwords; B₂ extended on outer margin; B₃ extended, a few words in facsimile; Ci, mended and extended; C₄, Di, F₃, H₄, I₂, I₃, mended, injuring some letters; I₄ mended in margins; Ki-K₄ mended in lower margins. The Garrick (bequeathed, January, 1779) copy. Bound in red morocco, Garrick's arms on sides. Pressmark, C. 34. k. 55. [787]

HUNTINGTON. 6 ¾ x 4 ½". Cropped at top, injuring headlines on G₄ verso to H₄ verso; "Collated & Perfect, J. P. K. 1809". Scribbling on some leaves. The Stace (sold), Kemble (sold, 1821), Devonshire (sold, January, 1914) copy. Inlaid and bound in crimson levant morocco, by Birdsall. [788]

[ 99 ]

TRINITY COLLEGE, CAMBRIDGE. 7 ⅛ x 5 ⅛". Very tender condition throughout, C₃-Ei mutilated at foot; C₂-D₃ mended with transparent paper; E₃ mutilated at side; Gi-I₂ wormed at lower inner margin so that paper is eaten away. "J. Payne" on title. The Payne, Capell (presented, June, 1779) copy. Bound in brown calf, with other old plays. Pressmark, R. 20. 2. [789]

## ROMEO AND JULIET, 1599.

The | Most Excellent and lamentable | Tragedie, of Romeo | and
Iuliet. | Newly corrected, augmented, and | amended: | As it hath bene
sundry times publiquely acted, by the | right Honourable the Lord Cham-
berlaine | his Seruants. | [Creede's device] | London | Printed by Thomas
Creede, for Cuthbert Burby, and are to | be sold at his shop neare the
Exchange. | 1599.

Second edition. A-L⁴; M²; total, 46 leaves. Type-page, 6 ¼ x 3 ⅝".

Catchwords: As, Grego. The; Bi, Rom. Not; Ci, Being; Di, Young; Ei, Thats; Fi, My; Gi, Towards; Hi, Digressing; Ii, But; Ki, And; Li, Law. Who; Mi, Came.

COPIES.

BODLEIAN. 6 1¼₅ x 4 ¾₅". E₂, line 14 from foot has hole; E₃ and E₄ mended; L₃ verso cropped, cutting off first letter of most of last 21 lines. The Malone (presented, 1821) copy. Inlaid and bound with other plays in Vol. VI. Pressmark, Malone, 37. [790]

[BRIDGEWATER HOUSE.] 6 ⅞ x 4 ¾". Acquired prior to 1649 when it was catalogued by John, Second Earl of Bridgewater. Bound in morocco, with arms of the Marquis of Stafford, by Murton.] [791]

BRITISH MUSEUM. 6 ⅝ x 4 ¾". Fi-G₂, large wormhole mended; G₃-Hi, small wormhole; L₃ signature and catchword cropped; stained. "Agst 23, 1621" after "FINIS" on M₂ recto. The King George III (presented, 1823) copy. Bound in half morocco. Pressmark, C. 12. g. 18. [792]

EDINBURGH UNIVERSITY. 7 ½₆ x 4 1¾₆". M₂ mended in margin. With "Wil. Sha." on title probably in Drummond's hand; some numbers and initials in old hand on title. The Drummond (presented, 1627) copy. Bound in green morocco. [793]

ELIZABETHAN CLUB. 6 ⅝ x 4 1¾₆". C₂ mended in lower margin. "George Steevens" on title and "G. Steevens" on verso title; Roxburghe arms on title; "Elizabeth Rotton Her Lot is to b neat" on verso H₃; Huth book-plate; old manuscript notes on some leaves. The Steevens (May, 1800, No. 1299), Roxburghe (May, 1812, No. 3860), White Knights (June, 1819, No. 3957), Daniel (July, 1864, No. 1430), Huth (November, 1911, No. 1193), Cochran (presented, December, 1911) copy. Bound in red straight-grained morocco, with George Daniel's monogram on front cover. [794]

FOLGER. Fi-F₄ lacking; title backed and mended; M₂ mended and backed, injuring headline and next two lines; stained. The Jennens (collected, c. 1740, bequeathed, 1773, to W. P. A. Curzon, ancestor of Lord Howe), Howe (sold, December, 1907) copy. Bound in half blue morocco. [795]

[ 100 ]

Printed by R. Young for John Smethwicke, and are to be sold at | his Shop
in St. Dunstans Church-yard in Fleetstreet, | under the Dyall. 1637.

Fifth edition. A-L⁴; total, 44 leaves. Type-page, 6 3/16 x 3 11/16".

Catchwords: A2, Samp.; Bi, Enter; Ci, Ben.; Di, Jul.; Ei, the; Fi, Tib.; Gi, There; Hi, Rom.; Ii, And; Ki, O; Li, Balt.

COPIES.

BIRMINGHAM. 7 1/16 x 5 3/16". F₂-L₄ extended in upper outer corner; I₄-L₃ have each a few letters in facsimile. The Sotheby (July 28, 1903, No. 496) copy. Purchased, March, 1905. Bound in red levant morocco, by Riviere. [817]

BODLEIAN. 7 x 5". Slightly browned. The Malone (presented, 1821) copy. Inlaid and bound with Love's Labors Lost, 1631, and other plays in Vol. II. Pressmark, Malone, 33. [818]

BOSTON PUBLIC. 7 x 5 1/4". The Barton (sold, May, 1873) copy. Bound in red morocco, by Lewis. [819]

BRITISH MUSEUM. 7 x 4 13/16". Title mended on inner margin; B₂ top corner mended; L₄ has small piece out of top margin, inner margin mended. The Garrick (bequeathed, January, 1779) copy. Bound in red morocco, Garrick's arms on sides, by Tuckett for the Museum. Pressmark, C. 34. k. 58. [820]

CAMBRIDGE UNIVERSITY. 7 x 5 3/8". Title injured, part of imprint torn away. Signature of "John Fitchett Marsh". The Marsh (May, 1882, No. 2418), Sandars (bequeathed, 1894) copy. Bound in green morocco. Pressmark, SSS. 44. 24. [821]

CRICHTON STUART. The Steevens (May, 1800, No. 1301) copy. [822]

EDINBURGH UNIVERSITY. 7 x 5 1/16". Title mended on lower margin; Ci extended on inner and upper margins; I₂ mended; K₂, L₂, L₃, re margined except at inner side. The Halliwell (presented, 1872) copy. Bound in red morocco, by Bedford. [823]

ELIZABETHAN CLUB. 7 15/16 x 5 9/16". Title and last leaf soiled. Huth book-plate. The [Halliwell] Sotheby (June, 1859, No. 343), Corser (February, 1871, No. 416), Huth (November, 1911, No. 1216), Cochran (presented, December, 1911) copy. Bound in red morocco, entirely uncut, by Bedford. [824]

ETON COLLEGE. 7 1/16 x 5 1/4". L₄ torn in margin. The Storer (bequeathed, 1799) copy. Interleaved and bound with Henry IV, 1639, in Vol. I. [825]

FOLGER. 7 x 5". Title mended; F₄ mended, injuring nine lines; last leaf mended in margin. The Jennens (collected, c. 1740, bequeathed, 1773, to W. P. A. Curzon, ancestor of Lord Howe), Howe (sold, December, 1907) copy. Bound in half blue morocco. [826]

FOLGER. The Halliwell Rarities (sold, January, 1897, No. 45), Perry (sold, March, 1907) copy. Bound in red levant morocco, by Pratt. [827]

FOLGER. Several leaves mended. Probably the Sotheby (May 24, 1856, No. 352), George Smith (July, 1867, No. 2584), copy. The Kalbfleisch (sold, c. 1900) copy. Bound in red levant morocco, uncut, by Bedford. [828]

FOLGER. 7 3/8 x 5 1/4". The Sotheby (June 20, 1904, No. 630) copy. Bound in modern vellum. [829]

[ 104 ]