. Complete works of William Shakespeare . s 1, 2, 3, our birth;Eowe first emended the line as in the text, though in his sec-ond edition he read o our for o her. IV. iv. 591. appear, appear so (like Bohemias son). IV. iv. 713. at palace; Folio 1, at Pallace; probably theapostrophe indicates the omission of the article or its absorp-tion in rapid pronunciation. V. ii. 58. weather-bitten conduit; changed to weather-beaten9 117 Notes. Ube Winters Ualc. in Folio 3; but weather-bitten is undoubtedly the correct form(cp. Skeats Etymological Dictionary): conduits were frequentlyin the form of hu
. Complete works of William Shakespeare . s 1, 2, 3, our birth;Eowe first emended the line as in the text, though in his sec-ond edition he read o our for o her. IV. iv. 591. appear, appear so (like Bohemias son). IV. iv. 713. at palace; Folio 1, at Pallace; probably theapostrophe indicates the omission of the article or its absorp-tion in rapid pronunciation. V. ii. 58. weather-bitten conduit; changed to weather-beaten9 117 Notes. Ube Winters Ualc. in Folio 3; but weather-bitten is undoubtedly the correct form(cp. Skeats Etymological Dictionary): conduits were frequentlyin the form of human figures. V. ii. 101. i that rare Italian master; Giulio Pippi, known as Giulio Komano, was born in 1492, and died in 1546; his fameas a painter was widespread; Shakespeare, taking him as atype of artistic excellence, makes him a sculptor; it must,however, be remembered that the statue was a painted pict-ure/ Much has been made of this reference by the advocatesof Shakespeares alleged Italian journeys (cp. Elzes Essays onShakespeare).. TMMiUmQ €)W TIE SJHJ^jW, FtOSTRESS. Yon not pay for the glasses you have bursts JHAKEJTEAREJ1COMEDY-OF-THE-• TAKING OF -THE- preface. xEbe Teaming of tbe Sbrew* Shakespeare and Marlowe—their joint production in 1589—andvarious similar suggestions have been made by critics. Weknow absolutely nothing about its authorship, but we maysafely assert that it contains no single line from Shakespearespen. It is an important document, though its intrinsic valueis naught. Its affected classicism, its poetic rant, its cheaplyrism, its strange mixture of hyperbole and bathos, all indi-cate that the play was the work of some poetaster of thepseudoMarlowan school, writing about the year 1590-2, The Date of Shakespeares Adaptation. The Taming ofThe Shrew is not mentioned by Meres in 1598; unless, as seemsunlikely, it is to be identified with Loves Labour Won. Never-theless the internal evidence points to an early date. contends that e
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