ERRATA—Volume LI
| Page | Col. | Line | |
| 355 | i | 21 | Shakespeare, William: for Charles Howard read Charles, Lord Howard, of Effingham |
| ii | 1 | for The company, read At first the company performed at the Theatre, but they | |
| 359 | i | 33 | for The quotation read The italicised quotation |
| 360 | ii | 4 f.e. | for 26 Feb. read 6 Feb. |
| 361 | ii | 25 | after their friends, insert Shakeapeare was not present; he was acting the same night before the queen at Greenwich. |
| 363 | i | 19-1 f.e. | for involved him . . . . Shakespeare avows read led to the production of his 'Sonnets.' Between 1591 and 1597 no aspirant to poetic fame in England failed to seek a patron's ear by a trial of skill as a sonneteer. Shakespeare applied himself to sonneteering when the fashion was at its height. Many critics are convinced that throughout the 'Sonnets' Shakespeare avows |
| ii | 5-6 | for Their uncontrolled ardour read But the two concluding sonnets (cliii. and cliv.) are directly based on an apologue illustrating the potency of love which figures in the Greek anthology (Palatine Anthology, ix. 627). Elsewhere many conceits are adapted from contemporary sonnets by English and foreign writers. Although Shakespeare's poems often seem coloured by personal experience, they were probably undertaken to a large extent as literary exercises. His ever-present dramatic instinct may be held to account for most of the illusion, which they create, of personal confession. Their style | |
| 364 | i | 24-45 | for But when all allowance . . . . the twofold influence read No clear and connected story is deducible from the poems, which divide themselves into two main groups. |
| 16-14 f.e. | for the young man . . . . three years old (civ.) read for the most part a young man | ||
| 9-8 f.e. | for with an emphasis . . . . will perpetuate read in language originally borrowed from classical literature, but habitual to the sonneteers of the day, that his verse will perpetuate for ever | ||
| 3 f.e. | for his devotion read love | ||
| 2-1 f.e. | omit he has made . . . . in the | ||
| ii | 1 | omit the line | |
| 2 | omit xl.-xlii. | ||
| 6-8 | for At one period . . . . by the young man read In one sequence the writer's equanimity is disturbed by the favour bestowed by a young patron | ||
| 12 | omit calmness and | ||
| 14-22 | for The second group . . . . to her seductions (cxxxiii.-cxxxvi.) read In the second group, most of which are addressed to a woman (cxxxvi.-clii.), Shakespeare, in accordance with a contemporary convention of sonneteers, narrates more or less connectedly the story of the disdainful rejection of a lover by a dark-complexioned siren. In one group of six sonnets (xl., xli., xlii., cxxxiii., cxxxiv., and cxliv.), which seem to stand apart from those that immediately precede or follow them, a more personal note appears to be struck. The six poems relate how the writer's mistress has corrupted his friend and drawn him from his 'side.' Sonnet cxliv., published by Jaggard in 1599, suggests the state of feeling generated by this episode. The poet declares that he is tempted by 'two spirits': 'a man right fair,' 'the better angel,' and a woman 'coloured ill,' 'the worser spirit.' The story of intrigue developed in these six sonnets, which is not readily paralleled, may owe its origin to a genuine experience of the poet. | ||
| 25-26 | for actors in the poet's narrative read persons to whom the poet seems to refer | ||
| 29 37 |
for the young read a young | ||
| 365 | i | 10 | for would well apply read would (it is conuuuuly rtUggesttd) apply |
| 17-20 | for If there is no direct proof . . . . of Southampton, read But Chapman was only one among many of the protégés of Southampton, and another of them, Barnabe Barnes, has claims to be considered the 'rival poet.' | ||
| 24 | for mysterious read conventional | ||
| 46-47 | omit There was a contemporary musician called William Hughes | ||
| 366 | i | 2 | for Pembroke doubtless read Pembroke, who was known from birth until his father's death exclusively as 'Lord Herbert' |
246
