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Enter Charles, Alanfon, Burgundie, Baftard,

and Pucell.
Char. Had Yorkc and Somersel brought rescue in,
We should have found a bloody day of this.

Baft. How the yong whelpe of Talbotsraging wood,
Did Nicsh hispuny-sword in Frenchmens blood.

Pue. Once I encountred him, and thus 1 laid:
Thou Maiden yoath, be vanquisht by a Maide.
But with a provd Majestical] high scorne Somni ing is
Heanswer'd thus : Yong Talbot was not borne 13, Bowl
T. hathanillareal.Cial. Illanah

Mr. Collier says of the “recently-discovered Folio”: “The singularity and interest of the volume arises out of the fact that from the first page to the last it contains notes and emendations in a handwriting not much later than when it came from the press...... As there is no page without from ten to thirty of these minor emonelations they do not in the whole fall short of 20,000...... Corrections only have been hitherto spoken of, but there are at least two other peculiar features in the volume. Many passages in nearly all the plays are struck out with a pen as if for the purpose of shortening the performance. (See Fac-simile.]. ..... To this fact we may add that hundreds of stage-directions have been inscribed in manuscript as if for the guidance and instruction of actors in order that no mistake might be made in what is denominated stage-business."

For a full account of the history and value of this volume, see “Notes and Emendations to the Text of Siakespeare's Plays, from the early MS. Corrections, contained in a copy of the Folio of 1632, in the possession of J. Payne Collier, Esq." London. One vol. 12mo, reprinted by J. S. Redfield, New York, and to be had of the booksellers gencrally throughout the United States.





95 & 97 CLIFF ST., N.Y.

discovered Folio of 1632, See preface .

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Char. Had Yorkc and Somersel brought rescue in,
We should havefounda bloody day ofinis.

Baft. How the yong whelpe of Talbots raging wood,
Did Acth hispuny-sword in Frenchmens blood.

Pue. Once I encountred him,and thus 1 laid:
Thou Maiden yoath, bevanquisht by a Maide.
But with a provd Majesticals high scorne Som Bing in
Heanswer'd thus : Yong Talbot was not borne is fordi
To be the pillage of a Giglot Wench, ofte force
He left me proudly,as unworthy fight.

Bur. Doubtleffe he would have made a noble Knight:
Seewhere helyes in herced in the armes
Of the most bloody Nursser of his harines. fill blooding

Baft. Hew them to peeces, hack their bones allunder,
Whose life was Englands glory,Gallia's wonder o

Char. Oh no forbeare:For that which we have Aed
Daring the life, let us not Wrong it dead.

Enter Lucy. and Boruto
Lu. Herald,conduct me to the Dolphins Tent,
To know who hath obtain'd the glory of the day.

Char. On what submissive message art thou sent?

Lucy. Submission Dolphin? Tisamecre French word:
We-English: Warriours wot not whaticmeance.
I come to know what Prisoners thou bait tane,
And to survey the bodies of the dead.

Cbar. For prisoners askst thou? Hell our prisonis. briofobyl But tell me whom thou feekin?

Lnc. But where's the great Alcidesof the field,
Valiant Lord Falbot Earle of Shrewsbury?
Crcated for his rare fucceffe in Armes,
Great Earle of Walford,Waterford, and Valenne,
Lord Talbot of Goodrigand Vrchinfield,
Lord Strangoof Bluckmore, Lord Verdon of Alton,
Lord Cromwell of Wingefield, Lord Furnivall of Sheffeild,
Thethriee victorious Lord of Falconbriage,
Knight of the Noble Order of S. George,
Worthy S. Michael, and the Golden Fleece,
Great Marshall to our King Henry the sixt,
Ofåll his Warres within the Realme of Franee.

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It is known to all who have bestowed attention upon the early history of Shakespeare's writings, that his dramas came originally from the press in a most imperfect state: so inaccurate, indeed, so defective and mutilated were the first editions of some of these admirable productions, that, were they reproduced at the present day with all the faults of their primitive typography, it is doubtful whether their transcendent merits would be discovered, even by many who are now their sincerest admirers. They were often without stage directions, and deficient in all the divisions of act and scene; halting rhymes and intolerable rhythm disfigured every speech; prose was solemnly measured off into verse, and verse unmercifully degraded into prose; omissions and redundances rapidly succeeded each other; they abounded with blunders in grammar and in sense, in orthography and punctuation, and with incoherences and inconsistencies of every imaginable description.

For so much of this gross carelessness as may fairly be attributed to the printers, it may be remarked in extenuation, that in the age of Shakespeare the art of printing was comparatively in its infancy. The correction of the press, as it is called, or the business of securing the most perfect accuracy in printed works, was not then, generally, as it has since become, a distinct department, intrusted to an experienced person specially trained for the purpose; but was often exercised at hap-hazard, either by the proprietor of a printing-office, who was sometimes incompetent, or by one of his deputies no better qualified than himself. It is true that among the old printers there was not wanting here and there one, who justly prided himself upon the superior accuracy with which he executed the works intrusted to his care; but it was not the good fortune of Shakespeare's plays, on their first publication, to fall into any such competent hands.

The carelessness or ignorance of printers was not, however, the only source of inaccuracy. The unwillingness of the old stage-managers to have their popular acting dramas printed, and thus made accessible to the public-probably through fear that such publicity would tend to diminish the desire to witness their performance at the theatre—often rendered the publication of a play a surreptitious work. Publishers being thus driven to indirect means to obtain possession of a manuscript copy, the author of a play, by his joint interest with the manager, was necessarily excluded from furnishing it, as well as from any supervision of his own production while passing through the press. That such was the case with the first impression of Shakespeare's plays there can be no doubt. The manuscript from which they were printed was evidently an imperfect copy, obtained from the memory of subordinate

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