tionaries had appeared, and it was often necessary to defend definition by citation. That need has now passed, at least in considerable measure. When White wrote, modern philology was in its infancy, and even his acuteness did not always guard him from errors which it is only justice to veil. The amount of elimination thus justified made it possible not only to bring most of White's notes beneath the text they were intended to elucidate, but also to add notes on points that vex modern editors and to increase considerably, for the benefit of the general reader, the annotations of a strictly glossarial character. Such additional notes are distinguished by an affixed R, while such of White's original notes as remain substantially unchanged have been marked w. Edited notes are unmarked save by signs of omission and by brackets indicating inserted matter. In addition to the footnotes a considerable amount of strictly textual comment has been given in the form of Supplementary Notes after each play. It may be added that in references to plays other than the one under discussion the line numbering of the Globe Shakespeare has been used.

In the latter stages of the work of revision, in November, 1908, Professor John B. Henneman suddenly passed away. His loss to the undertaking only his colleagues can fully appreciate. From the first he had the main charge of the text and of the Supplementary Notes, but there was no portion of the work to which he did not bring enthusiasm and accuracy of scholarship, and upon the historical plays he bestowed a particularly minute attention. To him is due in very large measure whatever credit attaches to the revision. It is needless to add that, as in the case of all workers upon the most widely and deeply studied of poets, our indebtedness to other editors has been large. Besides the special acknowledgments made in the introductions

and notes we must here express our sense of obligation to the Cambridge Editors, to Dr. Furness, to Professor Herford, to Dr. Gollancz and the late Dr. Rolfe, to Professor Neilson and the editors of the "First Folio Edition," to Dr. Sidney Lee, and, last but not least, to the scholarly contributors to the "Arden Shakespeare." Our thanks are also due for valuable services rendered by Dr. C. M. Hathaway, Jr., by Mr. Henry C. A. Damm, and, throughout the work, by Mr. J. W. McIntyre.

JANUARY 25, 1911.

SKETCH OF RICHARD GRANT

WHITE

ICHARD GRANT WHITE was born in New York City on the 22d of May, 1821, and with few and brief absences passed his entire life there, dying on the 8th of April, 1885. His father was a prosperous merchant, heir of a long line of Puritan traditions. The earliest American ancestor, John White, came from England in 1636, and settled first in Cambridge, Mass., then in Hartford, Conn. His grandfather, Calvin White, whom Richard is said to have resembled closely in manner and cast of mind, was for some years rector of St. James' parish, in Derby, Conn. He afterward became a Roman Catholic, but his family remained faithful to Protestant Episcopalianism, of a strictly Evangelical type, and Richard's father was, in his day, a pillar of the Low Church party, and distinctly Tory in political sympathies. In this household the boy was brought up in the straitest and most conventional fashion, and he never, in spite of occasional revolt, shook off the impress of this first environment. He was habitually formal, precise in dress, carrying his six feet two inches, as Englishmen said, "like a Guardsman"; precise, too, in speech, and with English intonation. Younger writers regarded him sometimes as arrogant, conventional, affected, and supercilious. This was the result of aristocratic instincts, inbred and inborn."

The future critic was educated at Dr. Anthon's once famous Grammar School, and at the University of the City of New York, then in Washington Square. His father had intended

him for the Church, and being of a naturally musical disposition he sang for some years in St. Ann's choir, Brooklyn. Theology did not attract him, however, and he turned from the ministry, first to medicine, then to law. He was admitted to the bar in 1845, but his father's death presently threw him on his own resources, and he resorted for a livelihood to musical and artistic criticism. For fourteen years he was connected with the Courier and Enquirer of New York. His work in this field attracted wide attention, for it was both highly intelligent and independent. In politics he showed the same sturdy vigour. When Preston Brooks assaulted Charles Sumner, White's editorial comments brought him a challenge to a duel, which was prevented only by the intervention of friends. He engaged in several other journalistic enterprises, until, in 1861, he was made head of the Revenue Marine Bureau of New York, a post which he held for seventeen years. The esteem with which his executive abilities were regarded is shown by the fact that he was made Secretary of the Metropolitan Sanitary Fair, held in aid of wounded soldiers, which was so successfully conducted as to earn for its cause $2,000,000 in three months.

White's first magazine article, written in 1846, was on Beethoven, and the interest in music which this evinced was a marked trait throughout his life. He was especially expert as a judge of violins, but also as a connoisseur of art, and in both fields, like lago, he was "nothing if not critical." It is beside the purpose to record his very numerous and varied literary productions, before we turn to his work as a Shakespearian critic, but no notice of his literary activity would be complete without mention of his once famous, anonymously published, political satire on the attitude of New York City toward the Civil War, "The New Gospel of Peace According to St. Benjamin" (1866); his impressions of his only visit to Europe (1876), "England Without and Within" (1881);