P. 174. (167) "You're sensible, and yet you miss my sense:"

The folio has "You are verie sencible," &c.-See, on the word "Very interpolated," Walker's Crit. Exam. &c. vol. i. p. 268.

Here the folio has "shrew." But see the last note but one on this play.

On account of what immediately follows, this has been altered to "butt heads together well," and to "butt heads well together."

The folio has "sir."-Corrected in the second folio.

P. 176. (172)

"Let's each one send unto his wife;"

A mutilated line.-Capell prints "Please you, let's each one send unto his wife."-Mr. Collier's Ms. Corrector reads " his several wife" (which is tautological, to say nothing more).—Mr. W. N. Lettsom proposes "Let's each one send e'en now unto his wife."

Mr. W. N. Lettsom conjectures "This' worse and worse." (See note 41.)

The folio has "of a wonder."-Mr. W. N. Lettsom proposes "of wonders."

P. 177. (178)

The folio has "An."

"And"

P. 177. (179)

"And show more sign of her obedience,

Her new-built virtue and obedience."

"In the former line read 'submission' [for 'obedience']." Walker's Crit. Exam. &c. vol. i. p. 276.—In the latter line Capell printed

66

virtue of obedience."

"Hath cost me a hundred"

P. 178. (180) The folio has "Hath cost me fiue hundred."-Corrected by Rowe (who printed "an hundred?" but see before, p. 176). Mr. Collier's Ms. Corrector, with some of the earlier editors, omits "Hath;" which, however, is indispensable here.—Mr. W. N. Lettsom says, "Dele 'me,' which was perhaps originally a mistake for one.""

The folio has "frosts doe bite."-Corrected in the second folio.

The old anonymous play, The Taming of a Shrew (see p. 102) concludes as follows; and it seems highly probable that Shakespeare's comedy had some corresponding conclusion, which has not been preserved;

"Then enter two bearing of Slie in his

Owne apparrell againe and leaues him

Where they found him, and then goes out.
Then enter the Tapster.

Tapster. Now that the darkesome night is ouerpast,
And dawning day appeares in chrystall sky,
Now must I hast abroad: but soft whose this?

What Slie oh wondrous hath he laine here allnight,

Ile wake him, I thinke he's starued by this,

But that his belly was so stuft with ale,

What how Slie, Awake for shame.

Slie. Sim gis some more wine, whats all the

Plaiers gon: am not I a Lord?

Tapster. A lord with a murrin: come art thou dronken still?
Slie. Whose this? Tapster, oh Lord sirra, I haue had

The brauest dreame to night, that euer thou

Hardest in all thy life.

Tapster. I marry but you had best get you home,

For your wife will course you for dreaming here tonight.
Slie. Will she? I know now how to tame a shrew,

I dreamt vpon it all this night till now,

And thou hast wakt me out of the best dreame

That euer I had in my life, but Ile to my

Wife presently and tame her too

And if she anger me.

Tapster. Nay tarry Slie for Ile go home with thee,

And heare the rest that thou hast dreamt to night. Exeunt Omnes."

Shakespeare Soc. reprint of ed. 1594, pp. 50, 51.

ALL'S WELL THAT ENDS WELL.

ALL'S WELL THAT ENDS WELL.

FIRST printed in the folio of 1623.-Meres, in his Palladis Tamia, &c., 1598, mentions, among plays by our author, a comedy called Love Labours Wonne (see the Memoir of Shakespeare); and there can be little doubt that Love Labours Wonne was (as Farmer first suggested in his Essay on the Learning of Shakespeare) another title for All's well that ends well. Mr. Collier conjectures "that 'All's Well that ends Well' was in the first instance, and prior to 1598, called 'Love's Labour's won,' and that it had a clear reference to 'Love's Labour's Lost,' of which it might be considered the counterpart. It was then, perhaps, laid by for some years, and revived by its author, with alterations and additions, about 1605 or 1606, when the new title of All's Well that ends Well' was given to it." Introd. to All's well that ends well. Nor is this conjecture to be treated with contempt; for Coleridge and Tieck were certainly right when they asserted that two distinct styles,— Shakespeare's earlier and his latest style,-are discernible in the play.—The groundwork of All's well that ends well is in Boccaccio's Decameron, Giornata iii., Novella 9; "Giletta di Nerbona guerisce il Re di Francia d' una fistola; domanda per marito Beltramo di Rossiglione; il quale, contra sua voglia sposatala, a Firenze se ne va per isdegno; dove vagheggiando una giovane, in persona di lei Giletta giacque con lui, ed ebbene due figliuoli; per che egli poi, avutola cara, per moglie la tiene." But Painter's translation of that tale,— the Thirty-eighth Novel of the First Volume of The Palace of Pleasure, 1566, -was what Shakespeare used; "Giletta, a phisitions doughter of Narbon, healed the French King of a fistula, for reward whereof she demaunded Beltramo counte of Rossiglione to husband. The counte being maried againste his will, for despite fled to Florence and loued another. Giletta, his wife, by pollicie founde meanes to lye with her husbande in place of his louer, and was begotten with childe of two sonnes; which knowen to her husband, he received her againe, and afterwards he lived in great honour and felicitie." Steevens observes ; "Shakespeare is indebted to the novel only for a few leading circumstances in the graver parts of the piece. The comic business appears to be entirely of his own formation." (Painter's novel is reprinted in Collier's Shakespeare's Library, vol. ii.)