BOOKS RECEIVED.

(52) THE CAMBRIDGE SHAKESPEARE. Edited by William Aldis Wright. Vol. III. Royal 8vo, cloth, pp. 305. New York: Macmillan & Co.

(64) BALAAM AND HIS MASTER, AND OTHER STORIES. By Joel Chandler Harris. 12mo, cloth, pp. 104. New York and Boston: Houghton, Mifflin & Co.

(65) KING RICHARD THE SECOND. By William Shakespeare. The first quarto, 1597. A fac-simile in photo-lithography by William Griggs. From the copy in the possession of His Grace the Duke of Devonshire. With an Introduction by Peter Augustin Daniel. 8vo, pp. xxiii-73. London: W. Griggs.

(66) THE TRUE TRAGEDY. The first quarto, 1595. From the unique copy in the Bodleian Library, Oxford. (In accordance with previous usage the 1595 copy is here called the first quarto, but it is in fact an octavo.) A fac-simile by photo-lithography by Charles Prætorius. With Introduction by Thomas Tyler, M.A. 8vo, pp. xviii-79. London: Charles Prætorius.

(67) ANTONY AND CLEOPATRA. By William Shakespeare. With an Introduction by W. J. Rolfe and seventeen etchings by Paul Avril. 8vo, pp. 220. Edition de grand luxe. Holland paper. Ornaments. New York: Duprat & Co.

(68) SPECIMENS OF THE PRE-SHAKESPEREAN DRAMA. Edited, with an Introduction and Notes, by John Matthews Manly, Ph.D. (Harv.), Assistant Professor in Brown University. Boston:

Ginn & Co.

(69) THE BANKSIDE SHAKESPEARE. Vol. XIV., Pericles, edited, with an Introduction, by Appleton Morgan, LL.D.; Vol. XV., Richard the Third, edited, with an Introduction, by Elias A. Calkins, Esq. New York: The Shakespeare Society of New York. Brentano's, sole agents. De luxe.

(70) SHAKESPEARE THE MEMORIAL THEATRE EDITION. Edited by Charles E. Flower. I., Henry IV.; II., Henry IV., Richard II., Richard III., King John, Pericles; I., II. and III., King Henry IV. 12mo. London: Samuel Trench,

(71) MAID MARIAN, AND OTHER STORIES. By Molly Elliot Seawell. 12mo, cloth. New York: D. Appleton & Co.

(72) A Calendar of the Shakespearian Rarities, Drawings and Engravings formerly Preserved at Hollingsbury Copse, near Brighton. Second edition, enlarged, edited by Ernest E. Baker, F.S.A. 8vo, cloth, pp. 170. London and New York: Longmans, Green & Co.

BOOKS REVIEWED.

(40) (67) Messrs. Duprat & Co., publishers, of Fifth Avenue, send us these two beautiful samples of their distinguished press-work. The first is a scholarly annotation apropos of Mlle. Bernhardt's Cleopatra― of the story whose infinite fascination age cannot wither nor custom stale. And they have followed it with a reprint of Shakespeare's play itself from the text of the first folio, with seventeen illustrations designed and etched by Paul Avril, printed with the types and on the presses of D. Jouaust, and limited to 150 copies, viz.: Nos. 1 to 25, 25 copies on Japan paper, containing three states of the full-page illustrations, head and tail pieces before letters in the text, and one extra set with letters, all of these having been, we are told, already disposed of; Nos. 26 to 50, 25 copies on Japan paper, containing two states of the full-page illustrations, head and tail pieces before letters in the text, price $40; Nos. 51 to 150, 100 copies on Holland paper, containing two states of the full-page illustrations, head and tail pieces before letters in the text, price $30. Not the least artistic feature of the enterprise is Dr. Rolfe's introduction, in which the good Doctor emphasizes his recent connection with a certain feminine editorial department by an essay in erotic prose, upon which, being his first, we sincerely congratulate him. Dr. Rolfe further displays the influence by exploiting an intensely esoteric connection between Queen Cleopatra and the Dark Lady of the Sonnets, who, he says, Mr. Tyler HAS identified with Mistress Anne Fytton, an identity hitherto merely suspected by the inner sisterhood. Messrs. Duprat & Co. deserve success for their elegant venture, and doubtless will achieve it.

(52) The high rank among critical editions always accorded to The Cambridge Shakespeare-and which it has never lost among the dozens of others which have followed it in the more than quarter century since its first appearance-will attract scholars to the present reprint under the care of the survivor of its original projectors, Messrs. Clark and Wright. The general reader of Shakespeare may indeed wonder, as compared with other editions, at the brief prefaces, notes and foot-notes of the Cambridge. Indeed, the edition may be compared to the results of a requisition for a search in a public office. The returns are often of very diminutive bulk when compared with the time required in the hunt. And so scholars who know that these entries to preserve the analogy-in the Cambridge edition are the returns of the most constant, subtile and faithful collation of all known impressions of the Shakespeare plays, value this edition accordingly. The American publishers, Macmillan & Co., have given the volumes (of which there will be nine) a splendid dress-heavy calendered paper, royal octavo, in large type and vellum cloth bindings. Further and detailed notices will be given in these pages as the volumes appear.

(65) (66) The completion of the Griggs-Prætorius photo-fac-similes at last places a priceless series before the Shakespeare student. Messrs. Griggs and Prætorius have done a magnificent work. As for the editors, working as they did under the directorship of the curious

Mr. F. J. Furnival, and handicapped by his irksome and irritating idiosyncrasies, "verse-test" craziness, knowledge of the fact that "Vorwort" was German for Preface (and consequent insistence that not "Prefaces" but Forewords should be used) and general rattle-brainedness, too much praise cannot be allotted. Such volumes as these"The Bankside Shakespeare," "The Bartlett Concordance," and the Halliwell-Phillipps "Outlines"- supersede at once thousands of once current works and reduce the Shakespeare students' working library to a shelffull of moderately expensive and readily procurable volumes.

(68) Messrs. Ginn & Co. promise us this series, and if well done they promise us a most desirable thing-and nobody will welcome these volumes more cheerfully than the scholars of the New York Shakespeare Society, who have had in preparation for some years what is practically the same thing. Nor need there be any competition. There are hundreds of these Miracle Plays and early dramas. (not even an accurate list of them has yet been made), and the Shakespeare Society editors will be proud to work side by side with Dr. Manly. Dr. Manly's first volume will contain Miracle Plays, Moralities, and Interludes; the second, Roister-Doister, Gorboduc, and plays of Lyly, Greene, and Peele. In no instance will an extract be given; each play will be printed as a whole. There will be a general introduction, tracing the growth of the drama from the Miracle Plays to Shakespeare; and each play will be provided with a special introduction. The notes will be devoted chiefly to the elucidation of the text, and an index to the notes will facilitate reference to subjects treated in them. It is believed that the materials for the study of the growth of the drama given in the two volumes contemplated will meet the requirements of all students except those whose business it is to know the whole of the literature of the subject, and these will be content to wait with erudite patience for the series promised by the New York Shakespeare Society, which, it is expected, will be under the editorial care of Dr. Thomas Randolph Price, Professor of the English Language and Literature in Columbia College.

(71) In President Morgan's interesting narrative of his experiences with the critics of his Shakespearian Myth (SHAKESPEARIANA, Vol. IV., p. 488) he says: " of ninety-three elaborate reviews thereof, one appearing in the Washington Post of April 24 (written, as I afterwards learned, by a lady of that city who had never given any special study to Shakespeare at all), was incomparably the most original, philosophical and forcible." Some time after this Mr. Morgan wrote to us: "Get a story called Maid Marian,' by Miss Molly Elliot Seawell. If Donnelly had had her power of writing Elizabethan colloquial English and her knowledge of the Elizabethan life and ménage, he could have done his 'cipher narrative' much more colorably. Miss Seawell has it all perfectly. Where could she have gotten so perfectly en rapport with it all? Perhaps she was once, in a prior state of existence, an Elizabethan-one of the Queen's maids of honor. If so, she must have known Shakespeare, for she gave me some of the bitterest slaps I ever received for that Myth. (She was the lady who did that Washington Post review.) Do you know I rather believe in metempsychosis. If the soul is demortal, the rule must work backwards as well as forwards." We are

glad that the Messrs. Appleton have put the story, which Mr. Morgan admired so much, into permanently accessible form. Miss Seawell has worked hard, and we are glad to greet her, as Emerson said to Walt Whitman, "at the threshold of a great career." She is a Southern lady of the highest promise and Amélie Rives should look to her laurels.

(72) Mr. Ernest E. Baker, F.S.A., has edited, and Messrs. Longmans, Green & Co. have published a second edition of Dr. Halliwell-Phillipps' carefully compiled catalogue of the now well-known "Rarities." Mr. Baker has added to every entry notes describing the condition of each of the entries, showing that the volumes are in all cases magnificently bound in levant or morocco, with appropriate tooling (in all cases executed under Dr. Halliwell-Phillipps' own eye) of the period to which the volume relates. Besides this, which enhances the value of the book to the collector, Mr. Baker has enlarged the archæological and bibliographical annotations, and has added Mr. Timmins' Report to the Birmingham Library upon the general value of the collection, which is for sale, the agents being the trustees in Europe, and in this country Messrs. Wyatt & Morgan, solicitors, No. 21 Park Row, New York City.

MISCELLANY.

IN reviewing Mr. Wm. H. Fleming's introductions to the I. and II. Henry IV. in THE BANKSIDE SHAKESPEARE, Dr. Rolfe in The Critic takes Mr. Fleming to task for not agreeing that the four or five sheets of a quarto of the I. Henry IV. found by Dr. Halliwell-Phillipps at Bristol (in which the sentence usually printed "how the rogue roared" reads "how the FAT rogue roared") prove absolutely and beyond cavil that there were two complete editions of the first quarto in 1598. Mr. Fleming replied spiritedly to Dr. Rolfe, demonstrating that, admitting all that Dr. Halliwell-Phillipps claims as to the value of the find (that the word FAT was written by Shakespeare in the sentence and lost by a printer's carelessness), it does not prove what Dr. Rolfe says it does, viz., that there were TWO editions in 1598.

But Dr. Rolfe unfortunately finds himself not at liberty, on account of its length, to print Mr. Fleming's letter (his own statement occupied a column of The Critic, which, of course, is all the proprie. tors of The Critic allow Dr. Rolfe to devote to one subject, even in the cause of accuracy), and accordingly we give Mr. Fleming's letter, which in our opinion settles the question and Dr. Rolfe at one and the same time:

"As to Halliwell-Phillipps' inference that his four leaves must be part of an earlier edition because they contain a word which is not found in other copies, I reply: that the only quarto we have of II. Henry IV. (1600) exists in two forms. One of these, owing to a blunder of the compositor, entirely omitted lines 1257-1371 (Bankside), which appeared in the later copies. Here is a case in which more than a hundred lines and several hundred words are omitted in some copies which are found in others, and yet, so far as I know (with the exception of Halliwell-Phillipps), no one from this fact infers there were two quartos of II. Henry IV. issued in 1600. It was simply a compositor's blunder. Doubtless the same is true of the word 'fat'

in the 1598 quarto of I. Henry IV. Dr. Rolfe's opinion (Critic, April 4, 1891), therefore, that the printer's "forms" would not be changed in making such corrections as might be necessary while "working off" the edition,' is controverted by the fact that in the only quarto of II. Henry IV. the 'forms' were changed while working off the edition.' This letter Dr. Rolfe did me the kindness to notice in The Critic of July 11, quoting as far as he saw fit therefrom. Waiving all that I then said (which he quotes) as to the orthography, historie or historye (which I do not throw as much weight upon as Dr. Rolfe, I think, rather makes it appear that I do), Dr. Rolfe proceeded to quote me as follows: '. . . Mr. Fleming also says that the occurrence of the word fat (in "How the fat rogue roared!") in Halliwell-Phillipps' fragment of the quarto does not prove it to be an independent edition. Of course it does not, for the reason just given; and Halliwell-Phillipps does not say that it does. He has given reasons for believing that the fragment is part of an independent edition, and proceeds to settle the question whether it belongs to the first or the second edition of 1598. That it "belongs to the first edition," he says, "may be safely inferred from its containing a word found in no other impression, omission being the commonest error in early reprints."

"Is not this what we may call 'whipping the devil around the stump'? or as if one should state it thus: 'I do not say that there was a first edition as well as a second edition (i.e., two editions) in 1598. It only begs the whole question as to whether there were or not by stating that certain pages belonged to the first edition and not to the second!' But Dr. Rolfe forges ahead :

"The fact which really proves the fragment to be part of an independent edition is entirely ignored by Mr. Fleming-namely, that the "forms" (using the word in the technical sense) differ from those of the other 1598 quarto. Halliwell-Phillipps, familiar as he was with the details of the printer's art, saw that his fragment of four pages was a piece of type-setting and "making-up" into pages which differed from the corresponding portion of the other quarto. He could not possibly mistake corrected pages of one and the same edition for such independent work. If the fragment were reproduced by photography it would be easy to compare it, page by page and line by line, with the fac-simile of the complete 1598 quarto, and to point out the variations in mechanical execution.' To this I replied (and regret that lack of space prevented Dr. Rolfe from publishing my reply):

"I. Halliwell-Phillipps does not state that he meant 'the same page of the two editions varies.' As his own book ('Outlines,' etc.) went through seven editions during his lifetime, he had ample time for revision and correction. If he had meant that the variations occurred on the same page (a most important fact, if true) it is likely he would.

6

have so stated.

"II. Even if Halliwell-Phillipps did mean 'the same page,' that does not prove that his fragment is of another edition. I quote Dr. Rolfe against Dr. Rolfe. In a late number of The Critic, in a note on Variations in Copies of the Early Quartos and Folios,' Dr. R. says:

"The Shakespeare quartos and folios were often corrected while passing through the press. In the "Griggs" series noticed above there. are two reproductions of the 1597 quarto of Richard II., one photographed from a copy belonging to Mr. Henry Huth, the other from the Duke of Devonshire's copy. These two copies of the same edi