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‘Richard III’ (1597, 1598, 1602, 1605, 1612) and ‘1 Henry IV’ (1598, 1599, 1604, 1608, 1615). Three reached four editions, viz. ‘Richard II’ (1597, 1598, 1608 supplying the deposition scene for the first time, 1615), ‘Hamlet’ (1603 imperfect, 1604, 1605, 1611), and ‘Romeo and Juliet’ (1597 imperfect, 1599, two in 1609). Three reached three editions, viz. On the time of Shakespeare’s dying in 1616 there had been printed seven editions of his ‘Venus and Adonis’ Quartos of the poems.(1593, 1594 in 4to, 1596, 1599, 1600, and two in 1602 in 8vo); five editions of his ‘Lucrece’ (1594 in 4to, 1598, 1600, 1607, 1616 in 8vo); one edition of the ‘Sonnets’ (1609, facsimiled in 1862), and three editions of the piratical ‘Passionate Pilgrim,’ containing a few poems by him (1599, 1600 unknown, 1612). (The primary editions of those four volumes were reproduced in facsimile at Oxford in 1905.) A sixth version of ‘Lucrece’ (1624) and six later editions of ‘Venus’ (1617, 1620, 1627, two in 1630, and 1636) preceded the issue of the first collected edition of the ‘Poems’ in 1640 (London, by T. Cotes for I. Benson). In his review of the first three issues of Gay Comix, Ted White famous that whereas not each comedian addition to the anthology was stellar, enhancing an anthology that was to cater to an entire class of people was no simple process, and that Cruse’s effort shone through.
On eight Nov. 1623 Edward Blount and Isaac (son of William) Jaggard obtained license to publish sixteen hitherto unprinted plays, The primary Folio.viz. Blount had transferred, on 16 Nov. 1630, his rights within the sixteen plays which have been first licensed for publication in 1623 (Arber, iii. Of Shakespeare’s performs there have been in print in 1616 solely sixteen (all in quarto), or eighteen if we embody the ‘Contention,’ the first draft of ‘2 Henry VI’ (1594 and 1600), and ‘The True Tragedy,’ the Quartos of plays.first draft of ‘3 Henry VI’ (1595 and 1600). Of the sixteen fully authenticated quartos, two plays reached five editions before 1616, viz. The quarto texts of ‘Love’s Labour’s Lost,’ ‘Midsummer Night’s Dream,’ and ‘Richard II’ are, for instance, of upper worth than the folio texts. Lithographed facsimiles of most of these volumes, with a number of the quarto editions of the poems (forty-eight volumes in all), had been prepared by Mr. E. W. Ashbee, and issued to subscribers by Halliwell-Phillipps between 1862 and 1871. A cheaper set of quarto facsimiles, undertaken by Mr. W. Griggs, and issued below the supervision of Dr. F. J. Furnivall, appeared in forty-three volumes between 1880 and 1889. The most important assortment of the original quartos-each of which only survives in four, five, or six copies-are in the libraries of the Duke of Devonshire, the British Museum, the Bodleian, and Trinity College, Cambridge.
A second edition of ‘Merry Wives’ (again imperfect) and a fourth of ‘Pericles’ are each dated 1619. ‘Othello’ was first printed in 1622 (4to), and in the same yr sixth editions of both ‘Richard III’ and ‘1 Henry IV’ appeared. ‘The Tempest,’ ‘The Two Gentlemen,’ ‘Measure for Measure,’ ‘Comedy of Errors,’ ‘As you like it,’ ‘All’s Well,’ ‘Twelfth Night,’ ‘Winter’s Tale,’ ‘3 Henry VI,’ ‘Henry VIII,’ ‘Coriolanus,’ ‘Timon,’ ‘Julius Cæsar,’ ‘Macbeth,’ ‘Antony and Cleopatra,’ and ‘Cymbeline.’ In the same year Blount and Jaggard produced a folio quantity of practically a thousand pages containing all the plays mentioned, with the exception of ‘Pericles,’ and with the addition of ‘King John,’ ‘1 and a pair of Henry VI,’ and the ‘Taming of the Shrew’ (none of the latter items received a license). The latter offered it to the Duke of Devonshire, who offered it in 1851 to the Garrick Club, after having two copies made. About fourteen excellent copies and 170 imperfect copies of the primary folio appear now identified.
The second folio edition was printed in 1632 by Thomas Cotes for Robert Allot and William Aspley, every of whose names figures as publisher on different copies. ‘Unto this Impression,’ runs the title-web page of 1664, ‘is added seven Playes never earlier than printed in folio, viz.: Pericles, Prince of Tyre. On the title-page is engraved the Droeshout portrait. Marshall’s copy of the Droeshout engraving of 1623 formed the frontispiece. In 1885 Mr. Walter Rogers Furness issued, at Philadelphia, a volume of composite portraits, combining the Droeshout engraving and the Stratford bust with the Chandos, Jansen, Felton, and Stratford portraits (James Boaden, Inquiry into various Pictures and Prints of Shakespeare, 1824; Abraham Wivell, Inquiry into Shakespeare’s Portraits, 1827, with engravings by B. and W. Holl; George Scharf, Principal Portraits of Shakespeare, 1864; J. Hain Friswell, Life-portraits of Shakespeare, 1864; William Page, Study of Shakespeare’s Portraits, 1876; Ingleby, Man and Book, 1877, pp. A bust, stated to be of Shakespeare, was found in 1845 bricked up in a wall in Spode & Copeland’s china warehouse in the Garrick Club bust.Lincoln’s Inn Fields.