A careful study of the text of Romeo and Juliet will show how little we can rely upon having the true text, as Shakespeare wrote it, in those plays for which the Folio is our earliest authority.

M. Tycho Mommsen published in 1859 a reprint of the first and second Quartos on opposite pages, and in the footnotes a collation of the remaining Quartos (not quite complete in the case of the fourth and fifth), the four Folios, Rowe's first edition, and the new readings of Mr Collier's MS. corrector. The volume is preceded by learned and valuable 'Prolegomena,' and the collation, which we have tested, is done with great care and accuracy. If our collation, so far as it occupies the same ground, may claim to be not less accurate, it must be remembered, first, that we have not endeavoured to record every minute variation of typography, but only such as were in our judgement significant or otherwise noteworthy; secondly, that we have had in all cases the original editions to refer to; and thirdly, that we have had the advantage of comparing our collation with his, and, wherever we found a discrepancy, verifying by a reference to the old copies.

Of the many alterations of Romeo and Juliet we have only had occasion to quote Otway's Caius Marius.

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2. TIMON OF ATHENS was printed for the first time in the Folio of 1623. It is called The Life of Tymon of Athens; in the running titles, Timon of Athens; and occupies twenty-one pages, from 80 to 98 inclusive, 81 and 82 being numbered twice over. After 98 the next page is filled with The Actors Names, and the following page is blank. The next page, the first of Julius Cæsar, is numbered 109, and instead of beginning as it should signature ii, the signature is kk. From this it may be inferred that for some reason the printing of Julius Cæsar was commenced before that of Timon was finished. It may be that the manuscript of Timon was imperfect, and that the printing was stayed till it could be completed by some playwright engaged for the purpose. This would account for the manifest imperfections at the close of the play. But it is difficult to conceive how the printer came to miscalculate so widely the space required to be left.

The well-known carelessness of the printers of the Folio in respect of metre will not suffice to account for the deficiencies of Timon. The original play, on which Shakespeare worked, must have been written, for the most part, either in prose or in very irregular verse.

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3. JULIUS CÆSAR was published for the first time in the Folio of 1623. It is more correctly printed than any other play, and may perhaps have been (as the preface falsely implied that all were) printed from the original manuscript of the author.

The references to Jennens in the notes are to his edition of _Julius Cæsar_, 'collated with the old and modern editions', and published in 1774.

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4. MACBETH, which follows next in order, was also printed for the first time in that volume. Except that it is divided into scenes as well as acts, it is one of the worst printed of all the plays, especially as regards the metre, and not a few passages are hopelessly corrupt.

'Davenant's version,' quoted in our notes, was published in 1673. Jennen's edition was printed in 1773. The edition of Macbeth by Harry Rowe is attributed to Dr A. Hunter, and as such we have quoted it. Of this we may remark that it is not always quite certain whether the editor is in jest or earnest. 'Shakespeare restored' by Mr Hastings Elwin is an edition of Macbeth with introduction and notes, which was anonymously and privately printed at Norwich in 1853.

W. G. C.

W. A. W.

ADDENDA.

Romeo and Juliet:

I. 1. 178. _sick health_] sicknes, helth 'England's Parnassus.' I. 1. 191. _discreet_] distrest 'England's Parnassus.' II. 3. 2. _Chequering_] Cheering 'England's Parnassus.' II. 6. 20. _fall; so_] full so 'England's Parnassus.' III. 5. 10. _mountain tops_] mountaines top 'England's Parnassus.'

Timon of Athens:

I. 1. 56. _creatures_] creature Maginn conj. I. 1. 235. _no angry wit_] no argument Bullock conj. I. 2. (stage direction) like himself.] by himself. Maginn conj. I. 2. 68. _sin_] dine Bullock conj. I. 2. 69, 70. Much ... Tim.] Tim. Such food doth thy heart good. Bullock conj. II. 2. 143. _hear ... late--_] are now too late-- Bullock conj. III. 1. 40. _solidares_] saludores (i.e. saluts-d'or) Maginn conj. III. 3. 8. _Has Ventidius_] Lucius, Ventidius Lloyd conj. III. 3. 11, 12. _His ... Thrive, give_] His ... Shrink, give Bullock conj. Three friends like physicians Give Lloyd conj., ending lines 9, 10 at shows ... must I. III. 4. 111. _So fitly?_] So, fitly: Lloyd conj. III. 6. 78. _are. The ... fees_] are--the worst of your foes Bullock conj. IV. 3. 133. _whores, a bawd_] whores abound Bullock conj. V. 2. 8. _a particular_] up articular Bullock conj.

Julius Cæsar:

III. 1. 263. _men_] Rome Bullock conj. IV. 1. 44. _our means stretch'd_] _our means, our plans, sketch'd out_ Bullock conj. IV. 3. 9. _Let_] But let Lloyd conj. IV. 3. 106. For Sheath read Sheathe.

ROMEO AND JULIET.

DRAMATIS PERSONÆ[1].

ESCALUS, prince of Verona. PARIS, a young nobleman, kinsman to the prince. MONTAGUE, } heads of two houses at variance with each other. CAPULET, } An old man, of the Capulet family. ROMEO, son to Montague. MERCUTIO, kinsman to the prince, and friend to Romeo. BENVOLIO, nephew to Montague, and friend to Romeo. TYBALT, nephew to Lady Capulet. FRIAR LAURENCE, a Franciscan. FRIAR JOHN, of the same order. BALTHASAR, Servant to Romeo. SAMPSON, } servants to Capulet. GREGORY, } PETER, servant to Juliet's nurse. ABRAHAM, servant to Montague. An Apothecary. Three Musicians. Page to Paris; another Page; an Officer.

LADY MONTAGUE, wife to Montague. LADY CAPULET, wife to Capulet. JULIET, daughter to Capulet. Nurse to Juliet.

Citizens of Verona; kinsfolk of both houses; Maskers, Guards, Watchmen, and Attendants.

Chorus.