Franz J. L. Thimm.

Shakspeariana from 1564 to 1864. An account of the Shakspearian literature of England, Germany, France and other European countries during three centuries, with bibliographical introductions online

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Lond. 1855.
Tempest. Angelica, or the Kape of Proteus, carried on from the Tempest

of Shakespeare. 12- Lond. 1822.

Lock, Matthew. English Opera, or the Musick in Psyche to which is

adjoined the Instrumental Musick in the Tempest. 4. 1675.

"Rare piece of Shakesperian Music."

- The Tempest, an Opera, taken from Shakespeare, as it is performed at
the Theatre Royal in Drury Lane. 8<>- 1756.

The Music in the Tempest by Purcell, Arne and Linley. folio. London.

an Opera, composed by J. C. Smith, fol.

Music, composed by Ar. Sullivan, fol. 1862.

Choice Ayres and Dialogues, fol. 1675.

Musick, by M. Locke. 4- 1675.

The Masque, composed by W. Boyce (full score). 4<>.

the, illustrated by Birket, Foster. 4<>. Lond. 1860.

Outlines of, by Selon. imp. 4. 1836.

Theobald, L. Shakespeare restored, or a specimen^ of the many errors, as
well committed, as unamended by Mr. Pope, in his late edition of this
poet. Designed not only to correct the said edition but to restore the
true reading of Shakespeare in all the editions ever yet published. 4.
Lond. 1726.

Theobald's Cave of Poverty, written in imitation of Shakespeare. 8<>- n. d.

Thersites literarius, a familiar adress to the readers of Shakspeare. Lond. 1784.

Thimm, Franz. Shaksperiana from 1564 to 1864. A Catalogue of the Shake-
speare Literature of England, Germany and France. With historical
Introductions. 8. 1864.

Thompson. Illustrations of Shakespeare in 230 wood- cuts from designs by
Thurston. 1825. 1830.

Thornbury, G. W. Shakspeare's England, or a Sketch of our social history
during the Reign of Elizabeth. 2 Vols. 8. Lond. 1856.

Thoughts. Choice thoughts from Shakespeare by the Author of book of
familiar Quotations. 12o. i860.

Tieck, L. The Midsummer Night; or Shakespeare and the fairies, transl.
from the German by Miss Rumsey. 12<>- Lond. 1854. (Privately pr.)

Tighe (R. R. and J. E. Davis). Annals of Windsor, being a history of the
Castle and Town. (Includes a Shakesperian chapter.) 2 Vols. 1858.

Time and Truth reconciling the moral and religious world to Shakespeare.
I2- Lond. 1854.

Titus Andronicus,' the history of, newly translated from the Italian Copy.
Printed by C. Dicey. 12. 1780.

Tour in Quest of Genealogy, and curious fragments from a M. S. Collection,
ascribed to Shakspeare. 80. 1811.


Traditionary anecdotes of Shakespeare, collected in Warwickshire in the year
1693. Now tirst printed from the original manuscript of Dowdall, edited
by P. Collier. 8- Lond. 1838.

Treatise on the Passions, so far as they regard the Stage; on the Merit of
G-k in Lear, Q-n and B-y opposed in Othello. So Lond. n. d.

Trunculo's Trip to the Jubilee, written by EA Thomson. 4. Lond. 1769.1770.

Truth illustrated by Great Authors, nearly 4000 aids to reflection, compiled
from Shakspeare and others. 1855.

Tapper, F. Ode for the three hundredth Birthday of Shakespeare. 12- 1864.

Tweddell. Shakespeare's Times and Contemporaries. 12^. Loud. 1852.

Twelfth Night, Music in, by Sir H. Bishop, fol. 1820.

Twiss, F. A complete verbal index to the plays of Shakespeare ; adapted to

all editions. Comprehending every substantive, adjective, verb, participle

and adverb , used by Shakespeare ; with a distinct reference to every

individual passage, in which each word occurs. 2 Vols. 8"- Lond. 1805.

Of an impression of 750 Copies 542 were destroyed by the fire at

"Bensley's the printer in 1807.

Two Gentlemen of Verona, Music in, by Sir H. Bishop, fol. 1821.
Tyrwhitt, Th. Observations and conjectures on some passages of Shakespeare.

8. Oxford 1766. 1769.
Ulrici, H. Shakespeare's Dramatic Art and his relation to Calderon and

Goethe. Transl. from the German. 80. Lond. 1846.
Upton, J. Critical Observations on Shakespeare. 8. Lond, 1746. 1748.
Useful Miscellanies, containing the Tragi-Comedy of Joan of Hedington in

imitation of Shakespeare. 8<>- 1712.
Vega, Lopez de. Romeo and Juliet, a Comedy written originally in Spanish

by L. de Vega contemporary with Shakespeare. 8- Lond. 1770.
Victory, B. History of the theatres of London and Dublin. 3 Vols. 12<>.

Lond. 1761.
Virgin Queen, a drama attempted as a Sequel to Shakespeare's Tempest (by

AValdron). Printed for the Author 1797.
Vortigern, under consideration with general remarks on Mr. James Boaden's

letter to George Steevens, Esq. relative to the manuscripts, drawings,

seal etc. ascribed to Shakespeare, and in possession of Samuel Ireland Esq.

80. Lond. 1796.

an Historical Tragedy, represented at the Theatre Royal, Drury Lane;

and Henry the Second, an Historical Drama, supposed to be written by
the Author of Vortigern. 8- Lond. 1799. reprint. 1832.

Wadd, W. A Medico-Chirurgical Commentary on Shakespeare. (Quart. J.
of Science) 1829.

Wade, Th. What does Hamlet mean? a lecture at the Jersey-Mechanic Insti-
tute. 80. 1840.

Walbran, C. J. Dictionary of Shakespeare Quotations. I2o. Lond. 1849.

Waldron, F. G. Free reflections on miscellaneous papers and instruments,
under the hand and seal of Shakespeare, in the possession of Samuel
Ireland, of Norfolk Street; to which is added: extracts from an unpublished
play called the Virgin Queen, written by, or in imitation of Shakespeare.
So- Lond. 1796.

The Shakespearean Miscellany: containing a collection of scarce and

valuable tracts, biographical anecdotes of theatrical performers with portraits
of ancient and modern actors, scarce and original poetry and curious remains
of antiquity. With a concise history of the early English stage. 4".
Lond. 1S02. 1804.

The Shakspearian Museum. 4o. Lond. 1794.

see Virgin Queen.

Walker, W. Sidney. Shakspeare's versification and its apparent irregularities
explained by Examples from early and late english writers ed. by W.
Nanson Lettsom. 8- London 1854.

A critical examination of the Text of Shakespeare. 3 Vols. 1 2o. London


Warburton. A Free and Familiar letter to that great Refiner of Pope and
Shakespeare, the Rev. Mr. W. Warburton. 80. 1750.

The Horatian Canons of Friendship with two dedications; the first to


that admirable Critic the Rev. W. Warburton, occasioned by his Dunciad
and his Shakspeare; etc. 4- Lond. I7n<).

Impartial Remarks upon the Preface of Dr. Warburton. 8- Lond. 1758.

- A Supplement to Mr. Warburton's Edition of Shakspeare. see Edwards.

Preface to his Edition of Shakspeare.

Ward, J. Diary from 1648 to 1679 ed. by Ch. Severn. Lond. 1839.
Warner, Rich. A glossary to the plays of Shakespeare in which are explained

technical terms, words obsolete or uncommon, and common words used

in an uncommon sense. 71 Vols. 4"- Mss. in the Brit. Museum.
A letter to Dav. Garrick, Esq., concerning 1 a glossary to the plays of

Shakespeare on a more extensive plan than has hitherto appeared. To

which is annexed a specimen. 8- London 17(58. Mss. in Brit. Museum.
Warton, J. The Adventurer. 1753. No. 93. 97. 113. 116. 122.
Warton, T. History of English -poetry. Lond. 1774 and 4 Vols. 1824.
Was Shakespeare a Catholic? (Article in the Rambler. 1854. No. 7.)
Webb, Col. F. Shakespeare's Manuscripts in the possession of Mr. Ireland

Examined etc. 8 Lond. i796.

Webb, D. Remarks on the beauty of Poetry. Lond. 1774.
Weston, S. Short notes on Shakespeare, by way of supplement to Johnson,

Steevens, Malone, and Douce. 8- Lond. 18U8. Privately printed.
Whalley, Th. An Enquiry into the Learning of Shakespeare, with remarks

on several passages of his plays, in a Conversation between Eugenius

and Neander. 8"- Lond. 1748.
Whateley, Pet. A. B. Remarks on some of the characters of Shakespeare.

8- Lond. 1785. - 2d. Edition. 8<>. Oxford 1808. 3d. Edition edited

by Archbp. Whateley. 12. Lond. 1839.
Wheler, R. B. History and antiquities of Stratford-upon-Avon ; comprising

a description of the collegiate church, the life of Shakespeare, &c. 80. n. d.

- Historical and descriptive account of the birth-place of Shakespeare.
With lithographic illustrations by C. F. Green. 8- Stratford-upon-Avon

Wheler Collection, the. A brief Hand List of the Collections respecting the
Life and Works of Shakespeare, and the History and Antiquities of
Stratford-upon-Avon, formed by the late R. B. Wheler, and now preserved
in the Shakespeare Museum at Stratford, one hundred copies printed
small 4o. Chiswick Press, 1863.

Whincop, Thomas. Scanderbeg, a Tragedy; to which are added a list of all
the dramatic authors, and their lives. 8. Lond. 1747.
"An account of Shakspeare and his portrait".

White, J. Original Letters etc. of Sir John Falstaff, selected from genuine
M. S. which have been in the possession of Dame Quickly and her des-
cendants, frontispiece. 1797.

Rich. Grant. Shakspeare Scholar, being historical and critical Studies

of his Text, Characters, and Commentators, with an Examination of Mr.
Collier's folio of 1632. 8- New- York. 1854.

Whiter, Walter. A specimen of a commentary on Shakespeare; containing
I.) Notes on As you like it; 2.) An attempt to explain and illustrate
various passages, on a new principle of criticism, derived from Mr. Locke's
doctrine of the association of ideas, so. Lond. 1794.

Wilke's General View of the stage (including Criticisms on Shakespeare). 1759.

Wilkins, George. Pericles, Prince of Tyre: a Novel. Printed in 1 60S. Founded
upon Shakespeare's Play. Edited by Tycho Mommsen, with a preface,
including a brief account of some original Shakespeare Edition extant
in Germany and Switzerland, etc. and introduction by Payne Collier. 8.
London 1857.

Williams, R., see Shaksperian Novels.

Willobie (Henry) his Avisa; or the true picture of a modest Maide, and of
a chaste and constant Wife. 4. Lond. 1594.
"Allusions to Shakspeare's Lucrece."

Wilmot. A retrospective Glance at Mr. Fechter's lago and acting edition of
Othello. 80. Lond. 1862.

Wilson see Shaksperiana.

Wilson. A House for Shakspeare. A proposition for the consideration of
the Nation. 8">- Lond. 1848.


Wilson, Th. An Analysis of the Illustrated Shakespeare of Thomas Wilson Esq.
Imp.-4"- 1<2<.

Wise, John R. Shakespeare, his birthplace and its neighbourhood. Illustrated
by W. S. Linton. 80- & 12<>. Lond. 1860. 1862. 8" 1 864.
-"The Beauties of Shakspeare; a Lecture by John Wise. 80- 1857.

Wiss James. On the Rudiments of Shakspearian Drama, an inaugural Dis-
sertation at the Univ. of Marburg. 8". Frankf. 1828.

Wivell, Abr. Account of his portrait of Shakespeare, from the Stratford Bust.
80. Lond. 1825.

An Historical Account of the Monumental Bust of Shakespeare in the

church of Stratford-upon-Avon, with critical remarks on the authors who
have written on it. 80. Lond. 1S27.

A Supplement to the above with 15 add. portraits. 80. Lond. 1827.

- An inquiry into the the history, authenticity and characteristics of the
Shakespeare portraits, in which the criticisms of Malone, Steevens, Boaden
and others are examined, confirmed, or refuted, embracing the Felton,
the Chandos, the Duke of Sommersets pictures, the Droeshout print, and
the monument of Shakespeare at Stratford. Together with an expose of
the spurious pictures and prints. With 8 engravings. 8. London 1^27.

Woodward, 6. M. (the caricaturist). Familiar verses from the ghost of Willy
Shakespeare to Sammy Ireland. To which is added Prince Robert, an
auncient ballad. 8<>. Lond. 1796.

Wordsworth (Charles). Shakespeare's Knowledge and use of the Bible. 8.
Lond. 1SH4.

Wright, Thorn. The Chester plays, a collection of Mysteries founded upon
scriptural objects, and formerly represented by the trades of Chester at
Whitsuntide. 80. Lond. 1843.

Wyatt, Mat. A comparative review of the opinions of Mr. James Boaden
(Editor of the Oracle), in February, March, and April, 1 795 ; and of J.
Boaden, Esq. (Author of Fontainville Forest, and of a letter to George
Steevens, Esq.), in February, 1796, relative to the Shakespeare manuscripts.
By a friend to Consistency. 80. n. d.

Yarrow, John. Shakespeare. A Tercentenary Poem. 8<>. 1864.

Young, E. Conjectures on original Composition. Lond. 1750.

Youth of Shakespeare, see Shakesperian Novels.






It was the custom of English strolling actors, towards the end of
the sixteenth century, to visit Germany, and to give performances of
the plays they brought with them, in the larger towns, and at the courts
of the petty princes. They acted plays which were of a type and
character quite new to a public accustomed to the "Miracle-plays", or
''Mysteries", and "Moral-plays"; - - a species of performance even
now repeatedly witnessed in Germany, in the obscure places of the
Catholic South.

The route these actors took was generally that of Holland, to the
North of -Germany, 'and along the Rhine, to Frankfort.

No time could have been more favourable for their appreciation,
and the consequent introduction of a new species of dramatic represen-
tation. There is indeed no period of German literature more barren
than that which lies between 1590 and 1610; for in these twenty years
scarcely five poetical works were printed ; and even these are of doubt-
ful merit. These Shakspearian actors were at first genuine Englishmen,
who acted in their mother-tongue ; but their plays were afterwards either
translated entire, or adaptations were made of them in German ; . and
they were then performed by German companies, under the title of
"Englische Komodianten".

We may fairly surmise that Shakspeare was known to the Germans,
even during his life time ; for German statesmen, savants, and merchants
were continually in England ; and cannot have altogether abstained from
visiting the theatres of London, during the reign of James I. In the
year 1614, a young man from Zurich, by name Johann Rudolf Hess,
(who afterwards became a member of the Senate), stayed in England;
and on his return, brought home, amongst other books, copies of
Shakspeare's "Hamlet", and "Romeo and Juliet", and Ben Jonson's
"Volpone"; which, together with a copy of George Wilkin's Tale,
"Pericles", have been found in the Library of Zurich.

There is a translation extant in Germany* of the Episode from

* Kobersteins Shakspeare's allmahliches Bekanntwerdcn in Deutschland und
Urtheile liber ihn bis zum Jahre 1773.



the "Midsumer .Might's Dream", which was published in the middle of
the 17' 1 ' century. It is the well known farce by Gryphius, entitled
"Absurda Comica oder Hen* Peter Squenz".

Tieck maintains that it was taken from a composition by R. Cox,
who transposed the episode in question ; but, whether derived from this
work or not, it is, in any case, the first Shakesperian piece which we
find to have been adapted for the German language; and it proves that
one of Shakspeare's pieces was actually performed in Germany by English
actors, before the year 1636. This is not, however, the only one of
Sliakspeare's dramas which found its way, at that early period, into
Germany. The English comedians brought "Romeo", "Hamlet" and
the "Merchant of Venice" with them; and most of these were adapted
for the German Stage, and performed repeatedly by German actors,
in cities, villages, and barns, throughout the whole of the 17"' century.

In 1670 a work was published, in three volumes, entitled "Schau-
biihne englischer und franzosischer Komodianten", which contained pieces
recently acted on the English, French and German stages; and this
leaves no doubt that "Romeo and Juliet", "Hamlet", and the "Merchant
of Venice", were performed by German players in the 17 th century.
A copy of a German play has been found by E. Devrient*, entitled
"Romeo und Julieta", which proves to be an adaptation from Shak-
speare; and a translation of "Hamlet" has been discovered in Germany,
under the title of "Tragodie: der bestrafte Brudermord oder Prinz
Hamlet aus Danemark", which must have been adapted early in the
18 lh century.

Daniel Gcorg Morhof, who published, in 16S2, his "Unterricht
von der deutschen Sprache und Poesie", said, that John Dryden had
written with much erudition on "Dramatica Poesi"; but of the English-
men whom he mentions therein, viz. Shakspeare, Fletcher, and Beaumont,
Morhof candidly confesses that he knows nothing.

The next German author who mentions Shakspeare is Berthold
Feind in his book entitled "Gedanken . von der Oper", printed in 1708.
It is doubtful whether he had absolutely read Shakspeare ; but Gervinus
seems to think he had. This author sayd : Mr. le Chevalier Temple,
in his 'Essai de la poesie', "informs us that some people had absolutely
cried aloud, and had wept whilst hearing read English tragedies of
the renowned English tragici, Shakspeare ". Not long after , we find
Benthem mentioning Shakspeare, in his "Englischen Schul und Kirchen
Staat" (Chapter 29.) in the following very quaint manner: "William
"Shakspear kam zu Stradford in Warwickshire auf die Welt. Seine
" Gelehrtheit war sehr schlecht; und daher verwunderte man sich urn
"desto mehr, dass er ein fiirtrefflicher Poeta war. Er hatte einen sinn-
" reichen Kopf, voller Scherz und war in Tragoedien und Comoedien so
"gliicklich, dass er auch einen Heraclitum zum Lachen und einen De-
"mocritum zum Weinen bewegen konnte."**

In the "Compendiosen Gelehrten- Lexicon", by Jocher, published
in 1715, there is also a very quaint article on Shakspeare, which
somewhat resembles the former, and which we will quote in the original :

* Dcvrient, Gcschichte der Schauspielkunst. Vol. I.
** Eschenburg, Ueber Shakspeare. 1787. pag. 49$.


- "Shakespear (Willi.) <-in englischcr Dramaticus, geboren zu Stratford
"1564, war schlecht auferzogen und verstinid kein Latein. Jedoch
"brachte er es in der Poesie sehr hoch. Er hatte ein scherzhafftes
"Geiniithe, kunte aber doch sehr ernsthaft seyn, und exeellirte in Tragodien.
"Er hatte viel sinnreiche und subtile Streitigkeiten niit Ben Jonson,
"wiewohl keiner von beyden viel damit gewann. Er starb zu Stratford
"1616, 23. April im 53. Jahre. Seine Schau- und Trauer-Spiele, deren
"er sehr viel geschrieben, sind in VI Theilen 1709 zu London zusam-
" mengedruckt, und werden sehr hoch gehalten."

But, even in the year 1737, Shakspeare's name was so little known
in Germany that there is no mention made of him in the second edition
of Gottsched' s "Kritische Dichtkunst", of that date; though in the
third edition, published in 1 742, lie is alluded to several times. Even
Bodmer, a German critic of great celebrity in his time, only "knew
something of an English poet, 'Saspar', or 'Sasper'," - meant for
"Shakespeare", and written down (no doubt ) after hearing an imperfect
pronunciation of the name. Still, this only proves his complete igno-
rance of the poet.

In the year 1741 was published a translation of "Julius Caesar",
by Caspar Wilhelm von Borck, who had been Prussian Ambassador in
London. This translation was by no means bad ; but it suited Gottsched,
who was then the critical oracle, to review it in "den Beitragen zur
Deutschen Sprache", one of the chief periodicals of the time, and to
speak in very unfavourable terms of the author. He even went so far
as to advise the translator to desist from importing any more tragedies
of that sort into Germany, and counselled him, to choose better models
in future.

Shortly after this notice, an article appeared, in the same Journal,
by Johann Elias Schlegel (1718 1749), which compared Shakspeare
with Gryphius. This is an important article, regarded as a specimen
of early Shaksperian criticism in Germany; and (strange to say!)
written by a namesake (no relation, I believe) of the great German
translator of Shakspeare half a century later. This Schlegel expresses
in the article in question a strong predilection for the French school of
dramatic writing, and the arrangements of the French Stage ; but gives
Shakspeare so far his due as to praise him very highly for the skilful
developement of his characters. It is surprising to find, however, that
he considers Gryphius eminently superior in ideas, to the English dra-
matist; for the plays of Gryphius are, in good truth, the most "stale,
flat, and unprofitable" declamations imaginable; utterly tasteless and
barren ! But such criticisms, coming from abroad, must not surprise us ;
for even Wieland, who translated Shakspeare twenty years after, per-
petrated the most extraordinary criticisms on this author, pronouncing
him, for instance, to be "full of chaff and empty straw"! German
literature and criticism were certainly at that time merely in a transitory
state; the fashion being, to aim at an uncertain imitation of the pre-
valent French taste. Gottsched (who had already received a warning),
was delighted to review, in his Journal, in 1755, Mrs. Lennox's "Shak-
speare illustrated", with the view of showing how poor were the
dramatist's powers of invention, and how much use he made of the
tales of other writers.



It was at this particular juncture that Voltaire, wrote, "Shakspeare,
u le Corneille de Londres, grand foil d'ailleurs, mais il a des morceaux
" admirables ". These few lines had, perhaps, more influence than any-
thing else in introducing Shakspeare to the German public generally;
whilst they also drew the attention of the trench more seriously than
before to the works of the great English dramatist. In 1755, Lessing's
"Miss Sara Sampson" appeared; and, three years later, his powerful
pen was actively wielded in defence of Shakspeare.

The reform of the tasteless criticism which we have indicated was
begun in good earnest by Lessing and Nicolai, at Berlin. Nicolai wrote.
in 1756, an article in the " Theatralische Bibliothek", entitled "Ge-
schichte der Englischen Schaubiihne", in which he completely extinguished
Gottsched and his French imitators, and called the special attention of
the public to Shakspeare, Beaumont, Fletcher, and Ben Jonson, great
geniuses, he maintained, who had raised the theatre to what it then
was. Nicolai had said, in the "Bibliothek der deutschen Wissenschaf-
ten", whilst reviewing Gottsched's "Geschichte der deutschen drainati-
schen Dichtkunst", that "nobody" would deny Gottsched's influence on
the German drama. Lessing took up the subject from the opposite
point of view, in his " Literaturbriefe " ; and replied that he was this
"Nobody", and that he denied the influence of Gottsched altogether.
He even maintained that Gottsched had done more harm than good,
by his criticisms. It was Lessing who said that, judging Shakspeare.
even by the standard models of the ancients, he was a much greater
tragic poet than Corneille. After Sophocles' "Oedipus", he continued,
no tragedies in the world had greater power over our passions than
"Othello", "Lear", and "Hamlet". In 17(52 appeared the first volume
of Wieland's translation- of Shakspeare, (consisting of 8 Volumes, in. 'all);
which was much praised and recommended by Lessing, in his "Drama-
turgic". But although Wieland's translation was not bad, the notes
which he appended to it, influenced as they were by Pope's then recent
criticisms, .were remarkably peculiar and curious. He deplored that
Shakspeare wrote so much in rhyme, and maintained that he had but
a very imperfect knowledge of verse.

Meantime Lichtenberg, the clever describer of Hogarth's paintings,
and Sturz, a talented prose writer, gave minute descriptions of the
acting of Garrick, which they had seen in England; and Wieland's
perverse criticism on Shakspeare, found an ardent assailant in the young
dramatist, H. W. Gerstenberg, the author of the famous tragedy of
" Ugolino '', who was a complete Shaksperian enthusiast. He attacked
Wieland's translation and notes, in an article inserted in the "Briefe
liber Merkwiirdigkeiten der Literatur", in 1766; in which, also, he
suggested some remarkable ideas on the genius of Shakspeare. But
the Shaksperian movement had already reached those young and
enthusiastic writers who were destined to raise German literature to
the high pitch of eminence which it soon afterwards attained. Some
were then at the University of Goettingen; others at Strasbourg. At
the former was Burger, at the latter Herder, Goethe, and Lenz.

Herder wrote an article on Shakspeare in 1771 in the "Blatter
von deutscher Art und Kunst", which was undoubtedly the most ad-
vanced in its notions on Shakspeare, of any yet published; for he


deprecated altogether the idea of contrasting Shakspeare's dramas with
those of Sophocles, or the other Greek dramatists. Wieland's trans-
lation was followed, in 1775, by Escheriburffs: and, however unsatis-
factory this last may have been as a whole its author's actuating motive

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Online LibraryFranz J. L. ThimmShakspeariana from 1564 to 1864. An account of the Shakspearian literature of England, Germany, France and other European countries during three centuries, with bibliographical introductions → online text (page 7 of 16)