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210. Howell, James (1594-1666), Historiographer, author of the Epistolae Ho-Elianae. Proverbs or old sayed Saws and Adages in English or the Saxon Tongue formed an appendix to his Lexicon Tetraglotton (1659-60). The allusion to Howell was added in the second edition.

Philpot, John (1589-1645). See Camden’s Remains concerning Britain, 1674, “Much amended, with many rare Antiquities never before Imprinted, by the industry and care of John Philipot, Somerset Herald, and W. D. Gent”: 1870 reprint, p. 319.

Grey. Notes on Shakespeare, ii., p. 249.

Romeo. “It is remarked that ‘Paris, tho’ in one place called Earl, is most commonly stiled the Countie in this play. Shakespeare seems to have preferred, for some reason or other, the Italian Conte to our Count :–perhaps he took it from the old English novel, from which he is said to have taken his plot.’–He certainly did so: Paris is there first stiled a young Earle, and afterward Counte, Countee, and County, according to the unsettled orthography of the time. The word, however, is frequently met with in other writers, particularly in Fairfax,” etc. (Farmer).

Painter, vol. ii. 1567, 25th novel. Arthur Broke’s verse rendering, founded on Boaistuau’s (or Boisteau’s) French version of Bandello, appeared in 1562; and it was to Broke, rather than to Painter, that Shakespeare was indebted. See P. A. Daniel’s Originals and Analogues, Part I. (New Shakspere Society, 1875).

Taming of the Shrew. Induction, i. 5.

Hieronymo, iii. 14, 117, 118 (ed. Boas, p. 78); cf. p. 193.

Whalley. Enquiry. p. 48.

Philips,–Edward Phillips (1630-1696), Milton’s nephew. See his Theatrum Poetarum, or a Compleat Collection of the Poets, 1675, ii. p. 195. Cf. also Winstanley’s English Poets, p. 218.

Heywood, in the Apology for Actors, 1612, alluded to above; see Hawkins’s Origin of the English Drama, 1773, ii., p. 3, and Boas’s Works of Kyd, 1901, pp. xiii, civ, and 411. Mr. Boas gives Hawkins the credit of discovering the authorship of The Spanish Tragedy “some time before 1773,” but the credit is Farmer’s. Hawkins was undoubtedly indebted to Farmer’s Essay.

211. Henry the fifth, Act iii., Sc. 4.

not published by the author. “Every writer on Shakespeare hath expressed his astonishment that his author was not solicitous to secure his fame by a correct edition of his performances. This matter is not understood. When a poet was connected with a particular playhouse, he constantly sold his works to the Company, and it was their interest to keep them from a number of rivals. A favourite piece, as Heywood informs us, only got into print when it was copied by the ear, ‘for a double sale would bring on a suspicion of honestie.’ Shakespeare therefore himself published nothing in the drama: when he left the stage, his copies remained with his fellow-managers, Heminge and Condell; who at their own retirement, about seven years after the death of their author, gave the world the edition now known by the name of the first Folio, and call the previous publications ‘stolne and surreptitious, maimed and deformed by the frauds and stealths of injurious impostors.’ But this was printed from the playhouse copies; which in a series of years had been frequently altered, thro’ convenience, caprice, or ignorance. We have a sufficient instance of the liberties taken by the actors, in an old pamphlet by Nash, called Lenten Stuff, with the Prayse of the red Herring, 4to, 1599, where he assures us that in a play of his, called the Isle of Dogs, ‘ foure acts, without his consent, or the least guesse of his drift or scope, were supplied by the players.’–This, however, was not his first quarrel with them. In the Epistle prefixed to Greene’s Arcadia, which I have quoted before, Tom hath a lash at some ‘vaine glorious tragedians,’ and very plainly at Shakespeare in particular; which will serve for an answer to an observation of Mr. Pope, that had almost been forgotten: ‘It was thought a praise to Shakespeare that he scarce ever blotted a line. I believe the common opinion of his want of learning proceeded from no better ground. This, too, might be thought a praise by some.’ But hear Nash, who was far from praising : ‘I leaue all these to the mercy of their mother-tongue, that feed on nought but the crums that fall from the translator’s trencher,–that could scarcely Latinize their neck verse if they should haue neede; yet English Seneca, read by candle-light, yeelds many good sentences–hee will affoord you whole Hamlets, I should say, handfuls of tragicall speeches.’ I cannot determine exactly when this Epistle was first published; but, I fancy, it will carry the original Hamlet somewhat further back than we have hitherto done; and it may be observed that the oldest copy now extant is said to be ‘enlarged to almost as much againe as it was.’ Gabriel Harvey printed at the end of the year 1592 Foure Letters and certaine Sonnetts, especially touching Robert Greene : in one of which his Arcadia is mentioned. Now Nash’s Epistle must have been previous to these, as Gabriel is quoted in it with applause; and the Foure Letters were the beginning of a quarrel. Nash replied in Strange Newes of the intercepting certaine Letters, and a Convoy of Verses, as they were going privilie to victual the Low Countries, 1593. Harvey rejoined the same year in Pierce’s Supererogation, or a new Praise of the old Asse ; and Nash again, in Have with you to Saffron Walden, or Gabriel Harvey’s Hunt is up; containing a full Answer to the eldest Sonne of the Halter-maker, 1596.–Dr. Lodge calls Nash our true English Aretine : and John Taylor, in his Kicksey-Winsey, or a Lerry Come-twang, even makes an oath ‘by sweet satyricke Nash his urne.’–He died before 1606, as appears from an old comedy called The Return from Parnassus ” (Farmer). See Gregory Smith, Elizabethan Critical Essays, especially i. 424-5.