ugh by precept only, and shed tears by rule."

I ought not to close without remarking what a wide diversity of
materials this play reconciles and combines. One can hardly realize
how many things are here brought together, they are ordered in such
perfect concert and harmony. The greatness of the work is thus hidden
in its fine proportions. In many of the Poet's dramas we are surprised
at the great variety of character: here, besides this, we have a
remarkable variety of plot. And, admirable as may be the skill
displayed in the characters individually considered, the interweaving
of so many several plots, without the least confusion or
embarrassment, evinces a still higher mastership. For, many and
various as are the forms and aspects of life here shown, they all
emphatically live together, as if they all had but one vital
circulation.

THE MERRY WIVES OF WINDSOR.

The Merry Wives of Windsor, as we have it, was first printed in the
folio of 1623. The play, however, was registered at the Stationers',
January 18, 1602, as "an excellent and pleasant-conceited comedy of
Sir John Falstaff and the Merry Wives of Windsor." In pursuance of
this entry, an imperfect and probably fraudulent edition was published
in the course of the same year, and was reprinted in 1619. In this
quarto edition, the play is but about half as long as in the authentic
copy of 1623, and some of the prose parts are printed so as to look
like verse. It is in doubt whether the issue of 1602 was a fair
reproduction of the play as originally written, or whether it was
printed from a defective and mutilated transcript stealthily taken
down by unskilful reporters at the theatre. On the former supposal, of
course the play must have been rewritten and greatly improved,--a
thing known to have been repeatedly done by the Poet; so that it is
nowise unlikely in this case. But, as the question hardly has interest
enough to pay the time and labour of discussing it, I shall dismiss it
without further remark.

It is to be presumed that every reader of Shakespeare is familiar with
the tradition which makes this comedy to have been written at the
instance of Queen Elizabeth; who, upon witnessing the performance of
_King Henry the Fourth_, was so taken with Falstaff, that she
requested the Poet to continue the character through another play, and
to represent him in love. This tradition is first heard of in 1702,
eighty-six years after the Poet's death; but it was ac