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4to, 1622, is prefixed—as to Troilus and Cressida—an Epistle "from the Stationer [Thos. Walkley] to the Reader."

      Date. From the Accounts of the Revels, we learn that this play was performed at Court, November 1st, 1604; and if the Egerton Papers, published by Mr. Collier, can be relied on, it had been performed before Queen Elizabeth. In them we meet as follows:—"6 August, 1602. Rewards to the vaulters, players, and dancers—of this x^li to Burbidge's players for Othello—lxiiii^li xviii^s x^d." "The part of the memorandum which relates to Othello," says Mr. Collier, "is interlined as if added afterwards." Mr. Halliwell asserts that Othello must have been written even before 1600; for in a MS. of that date, entitled The Newe Metamorphosis, &c., is a passage evidently, he thinks, imitated from "who steals my purse steals trash" in Othello. But, though Mr. Halliwell thinks otherwise, this passage may have been a later insertion; or it may be a mere coincidence, a thing much more common than is usually supposed. At all events Othello was written, at latest, in 1604. I know not if it has been observed that Voltaire evidently had Othello in his mind when writing his Zaïre.

      Origin. The only known source of this play is a tale in the Hecatommithi of Cinthio; and as no English translation of it is known to have existed, the obvious and natural inference is that Shakespeare had read it in the original. There was, however, it seems, a French translation: Paris, 1584.

      Julius Cæsar.

      Edition. Only in the folio, 1623.

      Date. The real date of this play is very uncertain, and I am very dubious whether I am right or not in giving it this position. Mr. Collier—with whom Mr. Dyce agrees—is positive that it appeared before 1603, for in that year Drayton published his Barons' Wars, in which is a passage so like the character of Brutus given in this play (v. 5), that one poet must have borrowed from the other; and it is inferred of course that Drayton was the borrower. But this is not by any means so certain, as the eagle did not always disdain to take a plume from the smaller birds (see above, The Two Gentlemen of Verona). It is very strange, however, that neither of these critics seems to have been aware that the very same ideas, and even expressions, are to be found in the character given of Crites in Ben Jonson's Cynthia's Revels (ii. 1), which was performed in 1600, and which may therefore I think justly be regarded as the real immediate original of the passages in both poets; the germ, however, is to be found in Chaucer's Tale of the Doctor of Physik. All, then, that we can venture to affirm is, that Julius Cæsar is posterior to 1600. I incline to place it in point of time before Shakespeare's other plays on Roman subjects. It may be observed that his Antony and Cleopatra and Coriolanus are as much Histories as those that are so entitled, the history being Roman instead of English.

      Origin. North's Plutarch, from the French of Amyot.

      Antony and Cleopatra.

      Edition. Only in the folio 1623.

      Date. From the language of this play I feel inclined to place its date near that of Julius Cæsar. It is true that "A Booke called Anthony and Cleopatra," which may have been this play, was entered in the Stationers' Registers, May 20th, 1608; but it seems never to have appeared, and that entry is no proof that the play may not have been acted some years before that date.

      Origin. Life of Antonius in North's Plutarch.

      King Lear.

      Edition. 4to, 1608; 4to, 1608; 4to, 1608; in the folio, 1623.

      Date. Certainly posterior to 1603, in which year appeared Harsnet's Discovery of Popish Impostures, from which Shakespeare evidently took the names of the fiends mentioned by Edgar. There is an entry of it in the Stationers' Registers, November 26th, 1607, in which it is stated that it had been played before the King on the night of St. Stephen's Day in the preceding year. The latest date of its composition, then, that we can suppose is 1606.

      Origin. Hollinshed, Mirror of Magistrates, and an old play on the same subject. The episode of Gloster and his sons was taken from Sidney's Arcadia, ii. 10.

      Macbeth.

      Edition. Only in the folio, 1623.

      Date. Dr. Forman states in his MS. Diary that he saw this play "at the Globe, 1610, the 20th of April, Saturday;" but it does not follow by any means that it was then a new play. I agree with Mr. Collier in thinking that the mention of "twofold balls and treble sceptres" should induce us to place it not very far from the accession of James I. (Oct. 24, 1604), and therefore in 1605 or 1606. Malone thought there was an allusion (in II. 3) to the state of the corn-market in 1606, and to the conduct of the Jesuit Garnet on his trial in that year; but this is little more than fancy.

      Origin. Hollinshed's Chronicle.

      Troilus and Cressida.

      Editions. 4to, 1609; in the folio, 1623.

      Date. It was entered in the Stationers' Registers, January 28, 1608–9. It had not been acted at that time; for the publishers state, in an Address to the Reader, that it had never been "staled with the stage, never clapper-clawed with the palms of the vulgar;" while in a reissue of it in the same year the Address was suppressed, and it was given "as it was acted by the King's Majesty's servants at the Globe." It is therefore evident that it was first acted in 1609; but it might have been written some years earlier. It is a very curious question, and one to which I am unable to give a satisfactory answer, how it came into the hands of the publisher. I entirely disagree with those critics who think they discern in it the hand of another poet; for there is not a play in the whole collection more thoroughly Shakespearian in every scene. The conclusion certainly is huddled up in a way not elsewhere to be met with in these plays; but that is no proof of this theory; for if Shakespeare had taken up the work of another, the conclusion is the very part he would have been most likely to develope. It is further very remarkable, that though this play was not exposed to the wear and tear of the property-room, it contains more imperfect lines than almost any other. This I can only attribute to the haste and carelessness of the transcriber, who, as working surreptitiously, was anxious to hurry through his task in as short a time as possible. I will observe, in fine, that, though it contains the death of Hector—which might perhaps better have been omitted—it is in reality a tragi-comedy, as much so as any of Beaumont and Fletcher's.

      Origin. Chaucer's Troilus and Cresseida, Caxton's Recuyl of the Historyes of Troye, and Lydgate's Historye, Sege, and Destruccyon of Troye.

      Timon of Athens.

      Edition. Only in the folio, 1623.

      Date. We have no means of ascertaining the exact date; but the language and the use of rimes in the dialogue induce me to think that it was near that of Troilus and Cressida.

      Origin. The story of Timon in Painter's Palace of Pleasure, and life of Antony in North's Plutarch.

      Coriolanus.

      Edition. Only in the folio, 1623.

      Date. A little later, I think, than the two preceding plays; for there is only one riming passage in it.

      Origin. Life of Coriolanus in North's Plutarch.

      Cymbeline.

      Edition. Only in the folio, 1623.

      Date. From the style and the family resemblance—as appears to me—between Imogen, Miranda, and Perdita, I should deem it to be contemporaneous with the Tempest and the Winter's Tale. We may place it, then, in or after 1610.

      Origin. The tale of Bernabò da Genova in the Decamerone, which Shakespeare had probably read in the original. There was an imitation of it in a tract called Westward for Smelts, of which, however, no edition earlier than 1620

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