598. Saskatchewan and The Rocky Mountains. A Diary and Narrative of Travel, Sport, and Adventure, During A Journey through the Hudson's Bay Company's Territories, in 1859 and 1860. By the Earl of Southesk. Edin., 8°, pp. xxx, 448, 1875. For notice of Shakespeare's Plays, see Index, p. 443, and Appendix, pp. 373-413. 599. Chefs-D'Euvre de Shakespeare Traduction en vers par M. Alcide Cayrou Avec une Introduction de M. Mézières de l'Academie Francaise Ouvrage orné d'un Portrait de Shakespeare gravé à l'eau-forte par Rajon. Paris: E. Plon et Cie, 8° : Vol. I. Macbeth-Hamlet, 1876. "II. Othello-Roméo et Juliette, 1876. 600. Shakespeare Scenes and Characters. A Series of Illustrations. Designed by Adamo, Hofmann, Makart, Pecht, Schwoerer, and Spiess; Engraved on Steel by Bankel, Bauer, Goldberg, Raab, and Schmidt. With Explanatory Text Selected and Arranged by Professor E. Dowden, LL.D., Author of "Shakspere, a Study of His Mind and Art. London: Macmillan and Co., fol., pp. xvi, 1-276, 1876. With 36 engravings. "In selecting the extracts the editor has been guided by the desire, first to illustrate the engraving, with special reference to the principal persons of the play there represented; secondly to offer some general views of importance suggested by the play; and thirdly, to give examples of the different schools of Shakespearian criticism." Preface, viii. 601. Jahrbuch der Deutschen Shakespeare-Gesellschaft im Auftrage des Vorstandes Herausgegeben durch Karl Elze. Dreizehnter Jahrgang. Weimar, 8°: Elfter Jahrgang, 1876; Zwoelfter Jahrgang, 1877; Dreizehnter Jahrgang, 1878; Vierzehnter Jahrgang, 1879. 602. Shakespeare Manual. By F. G. Fleay, M.A., etc., Formerly Scholar of Trinity College, Cambridge. London: Macmillan and Co., fp. 8°, pp. xxiii, 1-312, 1876. "The object of this little Treatise is to place within the reach of the student of Shakespeare such information as is essential for him to possess, but is at present unattainable unless he purchases many costly books." Introduction, xv. 603. A Brief Hand-List of the Selected Parcels in the Shakespearian and Dramatic Collections of J. O. Halliwell-Phillipps At No. 11 Tregunter Road, London. London: Privately Printed by J. E. Adlard, 8°, pp. 32, 1876. "Lenox Library, New York, from the Compiler." 604. A Catalogue of the ShakespeareStudy Books in the Immediate Library of J. O. Halliwell-Phillipps, At No. 11, Tregunter Road, London. London: Privately Printed by J. E. Adlard, 8°, pp. 72, 1876. "Lenox Library, New York, from the Compiler." 605. La Psychologie dans les Drames de Shakspeare par Le Dr. Onimus. Paris, 8°, pp. 23, 1876. 606. A Study of Shakespeare's Portraits, by William Page, Artist, ExPresident of the Academy of Design, New York. London: Chiswick Press, sq. 8°, pp. 76, 1876. With five portraits. "EXPLANATORY TO THE INDifferent Reader]. This Little Book is a Reprint of an article in Scribner's Magazine for May, 1876, by Mr. William Page, Artist, of New York, to illustrate his life size bust, in bronze, of Shakespeare, which, after several years study, he has accomplished, as a model for his portrait of the great Poet. The Portrait is now on the easel, and the Bust has been sent to London for inspection." 607. Shakespeare and the Bible. To which is Added Prayers on the Stage, Proper and Improper. Shakespeare's Use of the Sacred Name of Deity. The Stage Viewed from a Scriptural and Moral Point. The Old Mysteries and Moralities the Precursors of the English Stage. By James Rees, Author of "The Life of Edwin Forrest,' Dramatic Authors of America,' 'Footprints of a Letter-Carrier," etc. Philadelphia: Claxton, fp. 8°, pp. ix, 188, 1876. 29 66 79.66 "We ought to make collection of the thoughts of Shakespeare, that they may be cited on every occasion, and under every form; and no man who has a tincture of letters can open his works without finding there a thousand things which he ought not to forget." Villemain. 608. Will. Shakspere's Dramen von 1601 bis zum Schlusse seiner Laufbahn. Von herm. Freif. von Friesen Shakspere-Studien 3 Band. Wien, 8°, pp. vi, 1–549, 1876. 609. A Bibliography of the Original. Quartos and Folios of Shakespeare with Particular Reference to Copies in America by Justin Winsor Superintendent of the Boston Public Library With Sixty-Eight heliotype Facsimiles Boston James R. Osgood and Company (Late Ticknor & Fields, and Fields, Osgood, & Co.) Imp. 4, pp. 109, 1876. 2 copies. Two Hundred and Fifty Copies. Next to Hudson's, White's, and Furness's editions of the poet, Winsor's volume is the most valuable American contribution to Shakespearian literature. It is to be regretted that the edition is so small. Whatever Winsor undertakes he does well. 610. Shakespeare's home; Visited and Described by Washington Irving and F. W. Fairholt; with a Letter from Stratford by J. F. Sabin and the Complete Prose Works of Shakespeare. With Etchings by J. F. and W. W. Sabin, New York, 4°, pp. 80, 1877. Large paper; on Whatman paper; with 12 etchings, and 4 added. Shakespeare's Complete Prose Works" Occupy thirty-five lines of the volume: but surely he wrote many more prose lines than these. 611. Tales from Shakespeare by Charles and Mary Lamb. New York: Harper's Half-Hour Series, 32°, 2 vols., pp. 278, 208, 1877. Comedies The Tempest; Midsummer Night's Dream; Much Ado About Nothing; As You Like It; Two Gentlemen of Verona; Merchant of Venice; All's Well that Ends Well; Comedy of Errors; Twelfth Night; Taming of the Shrew; Measure for Measure; Winter's Tale. Tragedies Cymbeline; Romeo and Juliet; Pericles; Timon of Athens; King Lear; Macbeth; Othello; Hamlet. "One of the most useful and agreeable com. panions to the understanding of Shakspeare which have ever been produced. .. Even those who are familiar with every line of the original will be delighted with the pleasing and compendious way in which the story of each play is here presented to them." Quarterly Review. 612. The Sweet Silvery Sayings of Shakespeare on the Softer Sex. Compiled by an Old Soldier. London H. S. King & Co., 8°, pp. viii, 328, 1877. 613. Shakespeare, From An American Point of View; Including An Inquiry as to His Religious Faith, and His Knowledge of Law; with the Baconian Theory Considered. By George Wilkes. New York : Appleton, 89, pp. ix, 471, 1877. "We never find him speaking of the poor with respect, or alluding to the working classes without detestation or contempt." P. 2. How does this assertion agree with Lear's lamentation over the "poor naked wretches that bide the pelting of this pitiless storm" (Act III., Scene IV)? 614. Shakspere's New Map in Twelfth Night. By C. H. Coote, British Museum. " Come, here's the map." 1 Henry IV. Act iii. Sc. 1. London : Dulau & Co., 8°, pp. 88-100 (from the Trans. New Shaksp. Soc., 1878), 1878. What chart is referred to by Maria when she says of Malvolio (Act III., Scene II.), "he does smile his face into more lines than is in the new map with the augmentation of the Indies"? Knight (Pictorial Shakspere, 1838) supposed it to be the map of the Moluccas on fol. 328 of Linschoten : "The truth seems to be that it was a separate map well known at the time, made in all probability for the convenience of the purchasers of either one or the other of the two editions of Hakluyt." P. 98. 615. Catalogue of the Works of William Shakespeare Original and Translated Barton Collection Boston Public Library By James Mascarene Hubbard Boston Printed by Order of the Trustees, 4°, pp. 67, 1878. 616. Literature Primers. Edited by John Richard Green, M.A. Shakspere. By Edward Dowden, LL.D. Professor of English Literature in the University of Dublin, Author of "Shakspere, His Mind and Art: A Critical Study." New York: D. Appleton, 12°, pp. 167, 1878. 617. The Shakespeare Key: Unlocking the Treasures of His Style, Elucidating the Peculiarities of His Construction, and Displaying the Beauties of his Expression; Forming a Companion to "The Complete Concordance to Shakespeare." By Charles and Mary Cowden Clarke, Authors of "The Complete Concordance to Shakespeare," "Shakespeare Characters," "The Girlhood of Shakespeare's Heroines," &c. &c. &c. London: S. Low, 8°, pp. xi, 810, 1879. Subjects alphabetically arranged-"Abrupt Commencements to "Words Like Blame,' &c." "Never was author who combined so many dif ferent words in his single writings-and not only so many different words, but so many varied forms and uses of speech-as Shakespeare; never was author who comprised so many different phrases and sentences, with varied constructional forms of phrases and sentences, as Shakespeare; therefore it is that the possession of a ready means for inspecting these must needs be an advantage to students of the English language. Preface, v. 618. A Sketch of Shakespeare, By William Leighton: Author of the "Sons of Godwin,' ," "Change," &c. Wheeling, 8°, pp. 65, 1879. "A tribute of respectful admiration to the greatest poet of our language, with a brief sketch of his life and an endeavor to set down some of the plain and obvious reasons why we honor and admire him, and why the world has accorded to him the highest place in its literature." 619. Topical Shakespeariana or A Collection of English Shakespeariana (Exclusive of Editions) Arranged under Headings to Facilitate Reference to Special Subjects of Investigation By H. H. Morgan. St. Louis, 8°, pp. 83, 1879. "There are more than two thousand separate references, and these include the work of Allibone, Thimm, Bohn, and Knortz, exclusive of notice of editions and of Shakespeariana in foreign languages." P. 3. 620. Oração Funebre de Marcus An tonius Extrahida da Tragedia de William Shakspeare Julio Cesar Vertida do Inglez por Antonio Petronillo Lamarão Lisbon, 8°, pp. 14, 2, 1879. 621. Shakespeare et L'Antiquité par Paul Stapfer Professeur à la Faculté des lettres de Grenoble Première Partie L'Antiquité Grecque et Latine dans les Œuvres of Shakespeare. Les Poèmes-La Comédie des Méprises-Troilus et Cressida-Timon D'Athènes-Périclès, Prince de Tyr —Jules César-Antoine et Cléopatre -Coriolan. Paris, 8°, pp. viii, 494, 1879. 622. Which Shall It Be? New Lamps or Old? Shaxpere or Shakespeare? Brighton, 8°, pp. 16, 1879. [By J. O. Halliwell-Phillipps.] 623. Cupid's Revenge, Or, An Account of a King who slighted all Women, and at length was forced to Marry a Beggar. A ballad, s. a. Halliwell and Tite copy. Referred to in Love's Labour Lost, Act I, Scene II: "Arm. Is there not a ballad, boy, of the King and the Beggar? Moth. The world was very guilty of such a ballad some three ages since: but I think now 'tis not to be found; or, if it were, it would neither serve for the writing, nor the tune." 624. Droeshout Portrait of Shakespeare from the Folio of 1623: photo-lithographic Fac-simile (under supervision of H. Staunton): on card board. 625. The Shakespeare Birthday Book. No title-page, sq. 8°, pp. 277. Divided like a diary, with texts on the opposite pages. With pictures inserted. Bound in red crushed Levant, gilt edges. 626. Kleine Aanetekeningen over Shakspeare ende Koopman van Venetie vertaald door J. Moulin. "A Ms. of 300 folio pages neatly written in Dutch German, English, and French, by this celebrated Shakespearian scholar and others." Bound in new half pig's skin. Book-binder's date on back, 1863. A FEW TRIBUTES TO SHAKESPEARE. "QUESTIONS as to typographical blunders in editions of the classics are mixed up with larger critical inquiries into the purity of the ascertained text, and thus run in veins through the mighty strata of philological and critical controversy which from the days of Poggio downwards, have continued to form that voluminous mass of learning which the outer world contemplates with silent awe. To some extent the same spirit of critical inquiry has penetrated into our own language. What we have of it clusters almost exclusively around the mighty name of Shakspeare. Shakspearian criticism is a branch of knowledge by itself. To record its triumphs-from that greatest one by which the senseless Table of Greenfield,' which interrupted the touching close of Falstaff's days, was replaced by "'a babbled of green fields'-would make a large book of itself. He who would undertake it, in a perfectly candid and impartial spirit, would give us, varied no doubt with much erudition and acuteness, a curious record of blundering ignorance and presumptuous conceit, the one so intermingling with the other that it would be often difficult to distinguish them." JOHN HILL BURTON: The Book-Hunter, etc. Classification. "There is a well-known remark of Johnson, about the pleasure and advantage of collecting all the editions of one particular book, and the various commentaries and criticisms connected with it. He proposed Horace as an example. But to an English collector, what name might stand before Shakspeare? Think of all the re-prints of his Plays; of the literature which surrounds them; of the learned investigations, the subtile analogies, the refined interpretations; of the thoughtfulness, the fire, the grace of so many minds. Think of a Shakspeare 'Library.' Southey said, when Isaac Reed's contribution appeared, Comments upon Shakespeare keep pace with the National Debt: yet I should like to see his book, and would buy it, if I could.' Of course; and a costly store is obtained by such continued additions." The Times, London, Dec. 26, 1860. "Never perhaps was there so comprehensive a talent for characterization as Shakspeare's. It not only grasps every diversity of rank, age, and sex, down to the lispings of infancy; not only do the king and the beggar, the hero and the pickpocket, the sage and the idiot, speak and act with equal truthfulness; not only does he transport himself to distant ages and foreign nations, and pourtray with the greatest accuracy (a few apparent violations of costume excepted) the spirit of the ancient Romans, of the French in the wars with the English, of the English themselves during a great part of their history, of the Southern Europeans, (in the serious part of many comedies,) the cultivated society of the day, and the rude barbarism of a Norman foretime; his human characters have not only such depth and individuality that they do not admit of being classed under common names, and are inexhaustible even in conception : no, this Prometheus not merely forms men, he opens the gate of the magical world of spirits, calls up the midnight ghost, exhibits before us the witches with their unhallowed rites, peoples the air with sportive fairies and sylphs, and these beings, though existing only in the imagination, nevertheless possess such truth and consistency, that even with such misshapen abortions as Caliban he extorts the assenting conviction that were there such beings they would so conduct themselves. In a word, as he carries a bold and pregnant fancy into the kingdom of nature, on the other hand he carries nature into the regions of fancy which lie beyond the confines of reality. We are lost in astonishment at the close intimacy he brings us into with the extraordinary, the wonderful, and the unheard-of.” A. W. VON SCHLEGEL: Lectures on Dramatic Art and Literature. "O, when I think of the inexhaustible mine of virgin wealth in our Shakespeare; that I have been almost daily reading him since I was ten years old; that the thirty intervening years have been unintermittingly and not fruitlessly employed in the study of the Greek, Latin, English, Italian, Spanish, and German belle lettrists-the last fifteen years, in addition, still more intensely, in the analysis of the laws of life and reason, as they exist in man; and that upon every step I have made forward-in taste, in acquisition of facts from history or my own observation-in knowledge of the different laws of being and their apparent exceptions from accidental collision of disturbing forces-that, at every new accession of information, after every successful exercise of meditation, and every fresh presentation of experience-I have unfailingly discovered a proportionate increase of wisdom and intuition in Shakespeare!" COLERIDge. "It is, above all, the instinctive love and admiration which has made Shakespeare the most popular name, and his dramas the most universally read poetical works, among 40,000,000 of Germans. . . . Well, I think we Germans do love Shakespeare, and we love him reverently. We do not love him for this or that, but we love him best for being what he is. We do not admire him for a happy simile here or a striking observation there; none of which, beautiful as they may be as part of a whole, would make him, as we think, a poet-much less the king of all dramatic writers of the world. We love, above all, his grand poetical conceptions, and the truthful manner in which he does justice to them. We see in every piece of his an artistic reproduction of those eternal laws which, in spite of many apparent contradictions, and through all antagonistic forces, regulate always in the end the national, and very often the individual, destinies of mankind. To represent them in action is the divine privilege of the dramatic genius." CHEVALIER BUNSEN: Speech at the Farewell Dinner to Macready, March 1, 1851: Macready's Reminiscences, etc., 1875, 668. "O mighty poet! Thy works are not, as those of other men, simply and merely great works of art, but are also like the phenomena of nature,—like |