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Search for all books with this author and title. Customers who bought this item also bought. Stock Image. New Paperback Quantity Available: A second edition of this book was presented by Dr. Ingleby in , when Miss L. Smith undertook to edit it, and when the number of allusions to Shakspere and his works grew from to Even this, how- ever, did not half exhaust the available allusions, for Dr. And now in , in this combined edition of the Centurie and Fresh Allusions, I have added some new allusions to the old stock, and there are still more not in this collection.
Ingleby's original idea was to have printed only those references to the poet which occurred within his lifetime, a scheme practically identical with an unaccomplished design of Dr. Grosart's, announced in , for preparing a Contemporary Judgment of Poets. Ingleby's work, however, gradually grew into a Centurie, and was brought to an end with the allusions of the first great English critic, John Dryden, in , it being resolved that formal criticism should be excluded.
The " pre-critical century," as Ingleby called the period his collection represented, was held by him to divide itself naturally into four periods : the first extending from the earliest allusion to the poet's death in ; the second horn.
Miss L. Smith and Dr. Furnivall abided by these divisions, but the latter included also Dry den's Prologue to Love Triumphant, , thus exceeding the limit of Before then, the remarks on Shakspere by Margaret Cavendish in show a good critical appreciation ; Edward Phillips's. In fact, by , criticism was well on its way, and had paid its tribute to Shakspere : and even were it possible to exclude the results of this critical awakening from these volumes, it were not desirable ; for in these days a history of Shakspere criticism is just what one would consider valuable.
To stop short at , moreover, is to suppress valuable evidence, that of Jeremy Collier and his supporters, of Congreve, Dennis, Gildon, etc.
In order, therefore, to include this evidence, our allusions are extended to The divisions which Ingleby made in his Centurie do not seem to me either "natural" or necessary. The death of Shakspere, which is held to close the first period, made no immediate difference to the poet's position in literature. When the " myriad-minded " Shakspere, that sweet swan of Avon, died, no contemporary poet assailed the dull cold ear of death with metrical lamentations, and not then did Shakspere's posthumous greatness begin.
The still silence in which this greatest of Englishmen came into the world is equalled only by the silence in which he left it again. We do not consider here the magnificent inscriptions at Stratford, which, probably, rather indicate local appreciation and sorrow than the sorrow of literary men. In Robert Anton was reproving immodest women for going to see such base plays as Antony and Cleopatra; Drummond was assisting his muse with borrowings from A Lover's Complaint; Beaumont and Fletcher were having a jest at Hamlet and plagiarising from Hotspur ; and Jonson, in the newly-acquired greatness of his laureateship, was censuring Shakspere's faults in the Prologue of Every Man in his Humour.
In the following year, , only two allusions, and those by Taylor the water poet and Geffray Mynshul, and of little importance, have been discovered. Thus, at the passing of the greatest Elizabethan, the muse shed not one tear. XV or sorrow. A younger generation of playwrights with a new mode came forward to take his place.
But Shakspere's death did ultimately make a difference, in so far as it caused the publication of the Folio in The debt that we owe to Heminge and Condell, the port's friends and fellow-players, is incalculable, for on the Folio of , as found- ation, is built the fair fabric of Shakspere's fame. It was the publication of the Folios in , , , and , and of the poems in , which familiarised men with Shakspere's plays as literature and made Shakspere a great tradition in poetry and drama.
The splendid panegyrics of Jonson, Holland and Digges and the forewords of Heminge and Condell, must have intimated to many for the first time the greatness of the man who had died seven years before. If, therefore, we needed to have a first period at all, it should end in , when the allusions of Shakspere's con- temporaries to his personality had ended also, with the exception of a few by such men as Jonson. As a matter of fact, however, the allusions group themselves conveniently into two series, dis- tinguished by different characteristics, and practically coincident with the division in our volumes, the first series ending about the middle of the century and the second continuing to its end.
The other divisions made by Ingleby in the Centurie are roughly correct, but only roughly.
After the publication of the Folio in , the event of prime importance in its effect upon dramatic taste, and hence upon the position of Shakspere, was the formation of the Commonwealth in Subsequently, the Restoration in is the most considerable event in its consequences for the drama. Yet, in a subject such as ours, divisions of this nature are all but useless, though we may refer developments, for their origin, to the movements these dates indicate.
It is easy to see, more- over, that some considerable time would have to elapse after such changes as the foundation of the Commonwealth and the Restor- ation before their influence on poetic and dramatic taste would be 1 Taylor in mentioned Shakspere as one of the great dead, but there is no lament. The first Puritan attack on the drama was not delivered when Charles the Stuart laid his head on the block on January 30, , nor when Prynne published his Hislriomastix in and subsequently had his nose slit ; nor had the last gone by when Charles II returned to continue the mismanagement of his fathers.
Useful, therefore, as divisions are for marking the main causes of change, they cannot be held to group the effects, and in these volumes they are abolished. It was decided in the old books of allusions to exclude the title- pages of the quartos of apocryphal plays, whereon fraudulent printers had, for the deception of their public and the diversion of modern critics, put the embellishment "By W. Though nothing on the same scale as Ingleby's Centurie had been attempted before, yet Garrick, Drake and Malone had made smaller collections of tributes to Shakspere.
Knight, in his Shak- pere Studies, also printed a selection ; and Mr. Bolton Corney, Mr. George Dawson, and Dr.
Grosart, each had once a similar scheme. Latterly, in , Mr. Hughes printed a volume on The Praise of Shakespeare, a collection of passages on the great poet, extending up to modern times, with an able Introduction by himself and a Preface by Mr. Sidney Lee. Hughes's book owes its existence to a controversy conducted by Mr. XV11 heresies, ancient and modern, owes much to the temptation of notoriety. A second and revised edition of this book has appeared. Uses of the "Allusion Book. Apart from its mere interest as a chronologically arranged series of refer- ences to our greatest poet, the material it contains may be divided into the following sections, under which we shall discuss it : a Allusions to plays which help us to fix their dates of composition.
Allusions to Plays giving Dates.
The external evidence used by Shakspereans indeterminingthedatesof the poems and plays consists of the entries in the Stationers' Registers, the publication of the quartos, and early allusions by contemporaries. The entries of Shakspere's works in the Stationers' Registers are printed from Arbefs edition in quarto, in our second volume. The entry of King Lear in mentions the performance of the play on December 26, , at Whitehall. Other dates in the Stationer? Registers are subsequent to the generally accepted dates of composition.
Much Ado is generally dated , or Troilus is given an earlier date, , as above, and a later one, when it is thought to have been revised, Contemporary allusions printed in these volumes help us to fix the dates of five other plays : Romeo and Juliet. Qi of Romeo was published by Banter in , but the early date of is generally accepted, from internal evidence, for the first draft or version.
Weever's Sonnet of 1 proves conclusively that, by that year, the character of Romeo was already famous and associated with Shakspere. Julius Ccesar. This play was first printed in the Folio, but Weever in his Mirror of Martyr s, i6oi, 2 says : The many-headed multitude were drawne By Brutus speech, that Ccesar was ambitious, When eloquent Mark Antonie had showne His vertues, who but Brutus then was vicious? As there is no intimation in Amyot or North of Brutus's speech on Caesar's ambition, these lines must refer to Shakspere's play. Twelfth- Night.
This comedy was first printed in the Folio. Its date is fixed as from the entry of John Manningham in his Diary that the play was acted at the feast of the barristers of the Middle Temple on February 2, i6o2. Winter's Tale. Here again we have a play unprinted till its appearance in the Folio.