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Stay passenger, why goest thou by so fast? Read, if thou canst, whom envious death hath plast Within this monument; Shakespeare with whome Quick nature dide; whose name doth deck ys tombe Far more than cost; sith all yt he hath writt Leaves living art but page to serve his witt.

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Personal character.

At the opening of Shakespeare's career Chettle wrote of his 'civil demeanour' and of the reports of 'his uprightness of dealing which argues his honesty.' In 1601--when near the zenith of his fame--he was apostrophised as 'sweet Master Shakespeare' in the play of 'The Return from Parnassus,' and that adjective was long after associated with his name. In 1604 one Anthony Scoloker in a poem called 'Daiphantus' bestowed on him the epithet 'friendly.' After the close of his career Jonson wrote of him: 'I loved the man and do honour his memory, on this side idolatry as much as any. He was, indeed, honest and of an open and free nature.' No other contemporary left on record any definite impression of Shakespeare's personal character, and the 'Sonnets,' which alone of his literary work can be held to throw any illumination on a personal trait, mainly reveal him in the light of one who was willing to conform to all the conventional methods in vogue for strengthening the bonds between a poet and a great patron. His literary practices and aims were those of contemporary men of letters, and the difference in the quality of his work and theirs was due not to conscious endeavour on his part to act otherwise than they, but to the magic and involuntary working of his genius. He seemed unconscious of his marvellous superiority to his professional comrades. The references in his will to his fellow-actors, and the spirit in which they approached the task of collecting his works after his death, corroborate the description of him as a sympathetic friend of gentle, unassuming mien. The later traditions brought together by Aubrey depict him as 'very good company, and of a very ready and pleasant smooth wit,' and there is much in other early posthumous references to suggest a genial, if not a convivial, temperament, linked to a quiet turn for good-humoured satire. But Bohemian ideals and modes of life had no genuine attraction for Shakespeare. His extant work attests his 'copious' and continuous industry, and with his literary power and sociability there clearly went the shrewd capacity of a man of business. Pope had just warrant for the surmise that he

For gain not glory winged his roving flight, And grew immortal in his own despite.

His literary attainments and successes were chiefly valued as serving the prosaic end of providing permanently for himself and his daughters. His highest ambition was to restore among his fellow-townsmen the family repute which his father's misfortunes had imperilled. Ideals so homely are reckoned rare among poets, but Chaucer and Sir Walter Scott, among writers of exalted genius, vie with Shakespeare in the sobriety of their personal aims and in the sanity of their mental attitude towards life's ordinary incidents.

The survivors. Mistress Judith Quiney.

Shakespeare's widow died on August 6, 1623, at the age of sixty-seven, and was buried near her husband inside the chancel two days later. Some affectionately phrased Latin elegiacs--doubtless from Dr. Hall's pen--were inscribed on a brass plate fastened to the stone above her grave. The younger daughter, Judith, resided with her husband, Thomas Quiney, at The Cage, a house which he leased in Bridge Street from 1616 till 1652. There he carried on the trade of a vintner, and took part in municipal affairs, acting as a councillor from 1617 and as chamberlain in 1621-2 and 1622-3; but after 1630 his affairs grew embarrassed, and he left Stratford late in 1652 for London, where he seems to have died a few months later. Of his three sons by Judith, the eldest, Shakespeare , was buried in Stratford Churchyard on May 8, 1617; the second son, Richard , was buried on January 28, 1638-9; and the third son, Thomas , was buried on February 26, 1638-9. Judith survived her husband, sons, and sister, dying at Stratford on February 9, 1661-2, in her seventy-seventh year.

Mistress Susannah Hall.

The poet's elder daughter, Mrs. Susanna Hall, resided at New Place till her death. Her sister Judith alienated to her the Chapel Place tenement before 1633, but that, with the interest in the Stratford tithes, she soon disposed of. Her husband, Dr. John Hall, died on November 25, 1635. In 1642 James Cooke, a surgeon in attendance on some Royalist troops stationed at Stratford, visited Mrs. Hall and examined manuscripts in her possession, but they were apparently of her husband's, not of her father's, composition. From July 11 to 13, 1643, Queen Henrietta Maria, while journeying from Newark to Oxford, was billeted on Mrs. Hall at New Place for three days, and was visited there by Prince Rupert. Mrs. Hall was buried beside her husband in Stratford Churchyard on July 11, 1649, and a rhyming inscription, describing her as 'witty above her sex,' was engraved on her tombstone. The whole inscription ran: 'Heere lyeth ye body of Svsanna, wife to John Hall, Gent. ye davghter of William Shakespeare, Gent. She deceased ye 11th of Jvly, A.D. 1649, aged 66.

'Witty above her sexe, but that's not all, Wise to Salvation was good Mistress Hall, Something of Shakespere was in that, but this Wholy of him with whom she's now in blisse. Then, passenger, ha'st ne're a teare, To weepe with her that wept with all? That wept, yet set herselfe to chere Them up with comforts cordiall. Her Love shall live, her mercy spread, When thou hast ne're a teare to shed.'

The last descendant.

Shakespeare's brothers.

Of Shakespeare's three brothers, only one, Gilbert, seems to have survived him. Edmund, the youngest brother, 'a player,' was buried at St. Saviour's Church, Southwark, 'with a fore-noone knell of the great bell,' on December 31, 1607; he was in his twenty-eighth year. Richard, John Shakespeare's third son, died at Stratford in February 1613, aged 29. 'Gilbert Shakespeare adolescens,' who was buried at Stratford on February 3, 1611-12, was doubtless son of the poet's next brother, Gilbert; the latter, having nearly completed his forty-sixth year, could scarcely be described as 'adolescens;' his death is not recorded, but according to Oldys he survived to a patriarchal age.

Spelling of the poet's surname. Autograph signatures.

Much controversy has arisen over the spelling of the poet's surname. It has been proved capable of four thousand variations. The name of the poet's father is entered sixty-six times in the council books of Stratford, and is spelt in sixteen ways. The commonest form is 'Shaxpeare.' Five autographs of the poet of undisputed authenticity are extant: his signature to the indenture relating to the purchase of the property in Blackfriars, dated March 10, 1612-13 ; his signature to the mortgage-deed relating to the same purchase, dated March 11, 1612-13 , and the three signatures on the three sheets of his will, dated March 25, 1615-16 . In all the signatures some of the letters are represented by recognised signs of abbreviation. The signature to the first document is 'William Shakspere,' though in all other portions of the deed the name is spelt 'Shakespeare.' The signature to the second document has been interpreted both as Shakspere and Shakspeare. The ink of the first signature in the will has now faded almost beyond decipherment, but that it was 'Shakspere' may be inferred from the facsimile made by Steevens in 1776. The second and third signatures to the will, which are also somewhat difficult to decipher, have been read both as Shakspere and Shakspeare; but a close examination suggests that whatever the second signature may be, the third is 'Shakespeare.' Shakspere is the spelling of the alleged autograph in the British Museum copy of Florio's 'Montaigne,' but the genuineness of that signature is disputable. Shakespeare was the form adopted in the full signature appended to the dedicatory epistles of the 'Venus and Adonis' of 1593 and the 'Lucrece' of 1594, volumes which were produced under the poet's supervision. It is the spelling adopted on the title-pages of the majority of contemporary editions of his works, whether or not produced under his supervision. It is adopted in almost all the published references to the poet during the seventeenth century. It appears in the grant of arms in 1596, in the license to the players of 1603, and in the text of all the legal documents relating to the poet's property. The poet, like most of his contemporaries, acknowledged no finality on the subject. According to the best authority, he spelt his surname in two ways when signing his will. There is consequently no good ground for abandoning the form Shakespeare, which is sanctioned by legal and literary custom.

Shakespeare's portraits. The Stratford bust. The 'Stratford' portrait.

Aubrey reported that Shakespeare was 'a handsome well-shap't man,' but no portrait exists which can be said with absolute certainty to have been executed during his lifetime, although one has recently been discovered with a good claim to that distinction. Only two of the extant portraits are positively known to have been produced within a short period after his death. These are the bust in Stratford Church and the frontispiece to the folio of 1623. Each is an inartistic attempt at a posthumous likeness. There is considerable discrepancy between the two; their main points of resemblance are the baldness on the top of the head and the fulness of the hair about the ears. The bust was by Gerard Johnson or Janssen, who was a Dutch stonemason or tombmaker settled in Southwark. It was set up in the church before 1623, and is a rudely carved specimen of mortuary sculpture. There are marks about the forehead and ears which suggest that the face was fashioned from a death mask, but the workmanship is at all points clumsy. The round face and eyes present a heavy, unintellectual expression. The bust was originally coloured, but in 1793 Malone caused it to be whitewashed. In 1861 the whitewash was removed, and the colours, as far as traceable, restored. The eyes are light hazel, the hair and beard auburn. There have been numberless reproductions, both engraved and photographic. It was first engraved--very imperfectly--for Rowe's edition in 1709; then by Vertue for Pope's edition of 1725; and by Gravelot for Hanmer's edition in 1744. A good engraving by William Ward appeared in 1816. A phototype and a chromo-phototype, issued by the New Shakspere Society, are the best reproductions for the purposes of study. The pretentious painting known as the 'Stratford' portrait, and presented in 1867 by W. O. Hunt, town clerk of Stratford, to the Birthplace Museum, where it is very prominently displayed, was probably painted from the bust late in the eighteenth century; it lacks either historic or artistic interest.

Droeshout's engraving.

The engraved portrait--nearly a half-length--which was printed on the title-page of the folio of 1623, was by Martin Droeshout. On the opposite page lines by Ben Jonson congratulate 'the graver' on having satisfactorily 'hit' the poet's 'face.' Jonson's testimony does no credit to his artistic discernment; the expression of countenance, which is very crudely rendered, is neither distinctive nor lifelike. The face is long and the forehead high; the top of the head is bald, but the hair falls in abundance over the ears. There is a scanty moustache and a thin tuft under the lower lip. A stiff and wide collar, projecting horizontally, conceals the neck. The coat is closely buttoned and elaborately bordered, especially at the shoulders. The dimensions of the head and face are disproportionately large as compared with those of the body. In the unique proof copy which belonged to Halliwell-Phillipps the tone is clearer than in the ordinary copies, and the shadows are less darkened by cross-hatching and coarse dotting. The engraver, Martin Droeshout, belonged to a Flemish family of painters and engravers long settled in London, where he was born in 1601. He was thus fifteen years old at the time of Shakespeare's death in 1616, and it is consequently improbable that he had any personal knowledge of the dramatist. The engraving was doubtless produced by Droeshout very shortly before the publication of the First Folio in 1623, when he had completed his twenty-second year. It thus belongs to the outset of the engraver's professional career, in which he never achieved extended practice or reputation. A copy of the Droeshout engraving, by William Marshall, was prefixed to Shakespeare's 'Poems' in 1640, and William Faithorne made another copy for the frontispiece of the edition of 'The Rape of Lucrece' published in 1655.

The 'Droeshout' painting.

There is little doubt that young Droeshout in fashioning his engraving worked from a painting, and there is a likelihood that the original picture from which the youthful engraver worked has lately come to light. As recently as 1892 Mr. Edgar Flower, of Stratford-on-Avon, discovered in the possession of Mr. H. C. Clements, a private gentleman with artistic tastes residing at Peckham Rye, a portrait alleged to represent Shakespeare. The picture, which was faded and somewhat worm-eaten, dated beyond all doubt from the early years of the seventeenth century. It was painted on a panel formed of two planks of old elm, and in the upper left-hand corner was the inscription 'Willm Shakespeare, 1609.' Mr. Clements purchased the portrait of an obscure dealer about 1840, and knew nothing of its history, beyond what he set down on a slip of paper when he acquired it. The note that he then wrote and pasted on the box in which he preserved the picture, ran as follows: 'The original portrait of Shakespeare, from which the now famous Droeshout engraving was taken and inserted in the first collected edition of his works, published in 1623, being seven years after his death. The picture was painted nine years before his death, and consequently sixteen years before it was published. . . . The picture was publicly exhibited in London seventy years ago, and many thousands went to see it.' In all its details and in its comparative dimensions, especially in the disproportion between the size of the head and that of the body, this picture is identical with the Droeshout engraving. Though coarsely and stiffly drawn, the face is far more skilfully presented than in the engraving, and the expression of countenance betrays some artistic sentiment which is absent from the print. Connoisseurs, including Sir Edward Poynter, Mr. Sidney Colvin, and Mr. Lionel Cust, have almost unreservedly pronounced the picture to be anterior in date to the engraving, and they have reached the conclusion that in all probability Martin Droeshout directly based his work upon the painting. Influences of an early seventeenth-century Flemish school are plainly discernible in the picture, and it is just possible that it is the production of an uncle of the young engraver Martin Droeshout, who bore the same name as his nephew, and was naturalised in this country on January 25, 1608, when he was described as a 'painter of Brabant.' Although the history of the portrait rests on critical conjecture and on no external contemporary evidence, there seems good ground for regarding it as a portrait of Shakespeare painted in his lifetime--in the forty-fifth year of his age. No other pictorial representation of the poet has equally serious claims to be treated as contemporary with himself, and it therefore presents features of unique interest. On the death of its owner, Mr. Clements, in 1895, the painting was purchased by Mrs. Charles Flower, and was presented to the Memorial Picture Gallery at Stratford, where it now hangs. No attempt at restoration has been made. A photogravure forms the frontispiece to the present volume.

Of the same type as the Droeshout engraving, although less closely resembling it than the picture just described, is the 'Ely House' portrait , which formerly belonged to Thomas Turton, Bishop of Ely, and it is inscribed 'AE. 39 x. 1603.' This painting is of high artistic value. The features are of a far more attractive and intellectual cast than in either the Droeshout painting or engraving, and the many differences in detail raise doubts as to whether the person represented can have been intended for Shakespeare. Experts are of opinion that the picture was painted early in the seventeenth century.

Early in Charles II's reign Lord Chancellor Clarendon added a portrait of Shakespeare to his great gallery in his house in St. James's. Mention is made of it in a letter from the diarist John Evelyn to his friend Samuel Pepys in 1689, but Clarendon's collection was dispersed at the end of the seventeenth century and the picture has not been traced.

Later portraits.

Of the numerous extant paintings which have been described as portraits of Shakespeare, only the 'Droeshout' portrait and the Ely House portrait, both of which are at Stratford, bear any definable resemblance to the folio engraving or the bust in the church. In spite of their admitted imperfections, those presentments can alone be held indisputably to have been honestly designed to depict the poet's features. They must be treated as the standards of authenticity in judging of the genuineness of other portraits claiming to be of an early date.

The 'Chandos' portrait.

Of other alleged portraits which are extant, the most famous and interesting is the 'Chandos' portrait, now in the National Portrait Gallery. Its pedigree suggests that it was intended to represent the poet, but numerous and conspicuous divergences from the authenticated likenesses show that it was painted from fanciful descriptions of him some years after his death. The face is bearded, and rings adorn the ears. Oldys reported that it was from the brush of Burbage, Shakespeare's fellow-actor, who had some reputation as a limner, and that it had belonged to Joseph Taylor, an actor contemporary with Shakespeare. These rumours are not corroborated; but there is no doubt that it was at one time the property of D'Avenant, and that it subsequently belonged successively to the actor Betterton and to Mrs. Barry the actress. In 1693 Sir Godfrey Kneller made a copy as a gift for Dryden. After Mrs Barry's death in 1713 it was purchased for forty guineas by Robert Keck, a barrister of the Inner Temple. At length it reached the hands of one John Nichols, whose daughter married James Brydges, third duke of Chandos. In due time the Duke became the owner of the picture, and it subsequently passed, through Chandos's daughter, to her husband, the first Duke of Buckingham and Chandos, whose son, the second Duke of Buckingham and Chandos, sold it with the rest of his effects at Stowe in 1848, when it was purchased by the Earl of Ellesmere. The latter presented it to the nation. Edward Capell many years before presented a copy by Ranelagh Barret to Trinity College, Cambridge, and other copies are attributed to Sir Joshua Reynolds and Ozias Humphrey . It was engraved by George Vertue in 1719 for Pope's edition , and often later, one of the best engravings being by Vandergucht. A good lithograph from a tracing by Sir George Scharf was published by the trustees of the National Portrait Gallery in 1864. The Baroness Burdett-Coutts purchased in 1875 a portrait of similar type, which is said, somewhat doubtfully, to have belonged to John lord Lumley, who died in 1609, and to have formed part of a collection of portraits of the great men of his day at his house, Lumley Castle, Durham. Its early history is not positively authenticated, and it may well be an early copy of the Chandos portrait. The 'Lumley' painting was finely chromo-lithographed in 1863 by Vincent Brooks.

The 'Jansen' portrait.

The so-called 'Jansen' or Janssens portrait, which belongs to Lady Guendolen Ramsden, daughter of the Duke of Somerset, and is now at her residence at Bulstrode, was first doubtfully identified about 1770, when in the possession of Charles Jennens. Janssens did not come to England before Shakespeare's death. It is a fine portrait, but is unlike any other that has been associated with the dramatist. An admirable mezzotint by Richard Earlom was issued in 1811.

The 'Felton' portrait.

The 'Felton' portrait, a small head on a panel, with a high and very bald forehead , was purchased by S. Felton of Drayton, Shropshire, in 1792 of J. Wilson, the owner of the Shakespeare Museum in Pall Mall; it bears a late inscription, 'Gul. Shakespear 1597, R. B.' . It was engraved by Josiah Boydell for George Steevens in 1797, and by James Neagle for Isaac Reed's edition in 1803. Fuseli declared it to be the work of a Dutch artist, but the painters Romney and Lawrence regarded it as of English workmanship of the sixteenth century. Steevens held that it was the original picture whence both Droeshout and Marshall made their engravings, but there are practically no points of resemblance between it and the prints.

The 'Soest' portrait.

The 'Soest' or 'Zoust' portrait--in the possession of Sir John Lister-Kaye of the Grange, Wakefield--was in the collection of Thomas Wright, painter, of Covent Garden in 1725, when John Simon engraved it. Soest was born twenty-one years after Shakespeare's death, and the portrait is only on fanciful grounds identified with the poet. A chalk drawing by John Michael Wright, obviously inspired by the Soest portrait, is the property of Sir Arthur Hodgson of Clopton House, and is on loan at the Memorial Gallery, Stratford.

Miniatures.

A well-executed miniature by Hilliard, at one time in the possession of William Somerville the poet, and now the property Of Sir Stafford Northcote, bart., was engraved by Agar for vol. ii. of the 'Variorum Shakespeare' of 1821, and in Wivell's 'Inquiry,' 1827. It has little claim to attention as a portrait of the dramatist. Another miniature , of doubtful authenticity, formerly belonged to Mr. Lumsden Propert, and a third is at Warwick Castle.

The Garrick Club bust.

A bust, said to be of Shakespeare, was discovered in 1845 bricked up in a wall in Spode and Copeland's china warehouse in Lincoln's Inn Fields. The warehouse had been erected on the site of the Duke's Theatre, which was built by D'Avenant in 1660. The bust, which is of black terra cotta, and bears traces of Italian workmanship, is believed to have adorned the proscenium of the Duke's Theatre. It was acquired by the surgeon William Clift, from whom it passed to Clift's son-in-law, Richard Owen the naturalist. The latter sold it to the Duke of Devonshire, who presented it in 1851 to the Garrick Club, after having two copies made in plaster. One of these copies is now in the Shakespeare Memorial Gallery at Stratford, and from it an engraving has been made for reproduction in this volume.

Alleged death-mask.

The Kesselstadt death-mask was discovered by Dr. Ludwig Becker, librarian at the ducal palace at Darmstadt, in a rag-shop at Mayence in 1849. The features resemble those of an alleged portrait of Shakespeare which Dr. Becker purchased in 1847. This picture had long been in the possession of the family of Count Francis von Kesselstadt of Mayence, who died in 1843. Dr. Becker brought the mask and the picture to England in 1849, and Richard Owen supported the theory that the mask was taken from Shakespeare's face after death, and was the foundation of the bust in Stratford Church. The mask was for a long time in Dr. Becker's private apartments at the ducal palace, Darmstadt. The features are singularly attractive; but the chain of evidence which would identify them with Shakespeare is incomplete.

Memorials in sculpture.

A monument, the expenses of which were defrayed by public subscription, was set up in the Poets' Corner in Westminster Abbey in 1741. Pope and the Earl of Burlington were among the promoters. The design was by William Kent, and the statue of Shakespeare was executed by Peter Scheemakers. Another statue was executed by Roubiliac for Garrick, who bequeathed it to the British Museum in 1779. A third statue, freely adapted from the works of Scheemakers and Roubiliac, was executed for Baron Albert Grant and was set up by him as a gift to the metropolis in Leicester Square, London, in 1879. A fourth statue was placed in 1882 in the Central Park, New York. A fifth in bronze, by M. Paul Fournier, which was erected in Paris in 1888 at the expense of an English resident, Mr. W. Knighton, stands at the point where the Avenue de Messine meets the Boulevard Haussmann. A sixth memorial in sculpture, by Lord Ronald Gower, the most elaborate and ambitious of all, stands in the garden of the Shakespeare Memorial buildings at Stratford-on-Avon, and was unveiled in 1888; Shakespeare is seated on a high pedestal; below, at each side of the pedestal, stand figures of four of Shakespeare's principal characters: Lady Macbeth, Hamlet, Prince Hal, and Sir John Falstaff.

At Stratford, the Birthplace, which was acquired by the public in 1846 and converted into a museum, is with Anne Hathaway's cottage , a place of pilgrimage for visitors from all parts of the globe. The 27,038 persons who visited it in 1896 and the 26,510 persons who visited it in 1897 represented over forty nationalities. The site of the demolished New Place, with the gardens, was also purchased by public subscription in 1861, and now forms a public garden. Of a new memorial building on the river-bank at Stratford, consisting of a theatre, picture-gallery, and library, the foundation-stone was laid on April 23, 1877. The theatre was opened exactly two years later, when 'Much Ado about Nothing' was performed, with Helen Faucit as Beatrice and Barry Sullivan as Benedick. Performances of Shakespeare's plays have since been given annually during April. The library and picture-gallery were opened in 1881. A memorial Shakespeare library was opened at Birmingham on April 23, 1868, to commemorate the tercentenary of 1864, and, although destroyed by fire in 1879, was restored in 1882; it now possesses nearly ten thousand volumes relating to Shakespeare.

Quartos of the poems in the poet's lifetime.

Only two of Shakespeare's works--his narrative poems 'Venus and Adonis' and 'Lucrece'--were published with his sanction and co-operation. These poems were the first specimens of his work to appear in print, and they passed in his lifetime through a greater number of editions than any of his plays. At the time of his death in 1616 there had been printed in quarto seven editions of his 'Venus and Adonis' , and five editions of his 'Lucrece' . There was only one lifetime edition of the 'Sonnets,' Thorpe's surreptitious venture of 1609; but three editions were issued of the piratical 'Passionate Pilgrim,' which was fraudulently assigned to Shakespeare by the publisher William Jaggard, although it contained only a few occasional poems by him .

Posthumous quartos of the poems.

Of posthumous editions in quarto of the two narrative poems in the seventeenth century, there were two of 'Lucrece'--viz. in 1624 and in 1655 --and there were as many as six editions of 'Venus' , making thirteen editions in all in forty-three years. No later editions of these two poems were issued in the seventeenth century. They were next reprinted together with 'The Passionate Pilgrim' in 1707, and thenceforth they usually figured, with the addition of the 'Sonnets,' in collected editions of Shakespeare's works.

The 'Poems' of 1640.

A so-called first collected edition of Shakespeare's 'Poems' in 1640 was mainly a reissue of the 'Sonnets,' but it omitted six and it included the twenty poems of 'The Passionate Pilgrim,' with some other pieces by other authors. Marshall's copy of the Droeshout engraving of 1623 formed the frontispiece. There were prefatory poems by Leonard Digges and John Warren, as well as an address 'to the reader' signed with the initials of the publisher. There Shakespeare's 'Sonnets' were described as 'serene, clear, and elegantly plain; such gentle strains as shall re-create and not perplex your brain. No intricate or cloudy stuff to puzzle intellect. Such as will raise your admiration to his praise.' A chief point of interest in the volume of 'Poems' of 1640 is the fact that the 'Sonnets' were printed then in a different order from that which was followed in the volume of 1609. Thus the poem numbered lxvii. in the original edition opens the reissue, and what has been regarded as the crucial poem, beginning

Two loves I have of comfort and despair,

which was in 1609 numbered cxliv., takes the thirty-second place in 1640. In most cases a more or less fanciful general title is placed in the second edition at the head of each sonnet, but in a few instances a single title serves for short sequences of two or three sonnets which are printed as independent poems continuously without spacing. The poems drawn from 'The Passionate Pilgrim' are intermingled with the 'Sonnets,' together with extracts from Thomas Heywood's 'General History of Women,' although no hint is given that they are not Shakespeare's work. The edition concludes with three epitaphs on Shakespeare and a short section entitled 'an addition of some excellent poems to those precedent by other Gentlemen.' The volume is of great rarity. An exact reprint was published in 1885.

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