Some characters were confounded and mixed, or two put into one, for want of a competent number of actors. Thus in the quarto edition of Midsummer-Night’s Dream, Act v. Shakespeare introduces a kind of master of the revels called Philostrate; all whose part is given to another character (that of Egeus) in the subsequent editions: so also in Hamlet and King Lear. This too makes it probable that the prompter’s books were what they called the original copies.
From liberties of this kind, many speeches also were put into the mouths of wrong persons, where the author now seems chargeable with making them speak out of character: or sometimes perhaps for no better reason, than that a governing player, to have the mouthing of some favourite speech himself, would snatch it from the unworthy lips of an underling.
Profe from verse they did not know, and they accordingly printed one for the other throughout the volume.
Having been forced to say so much of the players, I think I ought in justice to remark, that the judgment, as well as condition of that class of people was then far inferior to what it is in our days. As then the best play-houses were inns and taverns (the Globe, the Hope, the Red Bull, the Fortune, &c.) so the top of the profession were then mere players, not gentlemen of the stage: they were led into the buttery by the steward, not placed at the lord’s table, or lady’s toilette: and consequently were entirely deprived of those advantages they now enjoy in the familiar conversation of our nobility, and an intimacy (not to say dearness) with people of the first condition.
From what has been said, there can be no question but had Shakespeare published his works himself (especially in his latter time, and after his retreat from the stage) we should not only be certain which are genuine, but should find in those that are, the errors lessened by some thousands. If I may judge from all the distinguishing marks of his stile, and his manner of thinking and writing, | make no doubt to declare that those wretched plays Pericles, Locrine, Sir John Oldcastle, Yorkshire Tragedy, Lord Cromwell, The Puritan, and London Prodigal, cannot be admitted as his. And I should conjecture of some of the others (particulary Love's Labour's Lost, The Winter's Tale, and Titus Andronicus) that only some characters, single scenes, or perhaps a few particular passages, were of his hand. It is very probable what occasioned some
