A B E L L A ch e possede tutta la graz ia e bellezz a ’ dell eroina immortale di Shakespeare . 53465 ’ A PHOTOGRAPHI C REPROD U C T ION OF L U I GI DA PORTO S PROSE V ERSION OF ROMEO AND GI U LIETTA DATED 1 535 ’ BEIN G THE O RI GINAL SO U R C E OF S HA KE S PEARE S R U L I E T W T T T OMEO AND j . I H A LI ERAL RANS E G T LATIO N INTO N LISH FROM HE ITALIAN . A LSO A PHOTO GRAPHI C REPROD U C TION OF 1 T W T U B B THE 539 EDI ION . I H F LL I LIO GRAPH Y AND INTROD UC TORY REMAR KS . MAURIC E J O NAS. THE T R ANSLATION IS MADE FROM THE EXC ESSI V ELY RARE EDITION OF 1 535 IN THE B RITISH M U S E U M . THE 1 539 FAC SIMILE IS TA KEN FROM A C OP Y O F THIS EXTREMELY RARE EDIT IO N IN THE POSSESSION OF THE A UTHOR . LONDON A S R \ D V I O I O L I , 2 se m St eet 4, Mu u r , I g z r . B th e s e t o y am Au h r , THE THIRTY - THIRD NOVE L OF MASU OCIO . M r a ce o as h as e e a ood e ce to . M uri J n rend r d g s rvi t e ts of S a es ea e — N o tes an d u er ies s ud n h k p r Q . SHA K E S E RE A ND TH S AG P A E T E . or ea e e ce o f at e t e t t on A w k b ring vid n p i n inv s iga i , l o o esea an d n o tt e s o a an d con ab ri us r rch li l ch l rship , t a s of e - e te o t o com aining a m s w ll dig s d inf rma i n , pri sing n umerous item s of the atrical an d an tiquarian in t e es t is th e a so e - o an d e OtLu r , h nd m ly b und nic ly g p an d r te v o m e a e o t le p in d lu , by M uric J nas , s y d o r e e e S h a k es ear e an d th e S t e an d m n i p ag , c p h 's v ly s e at 1 5. s an d r o se publi h d 5 by Davi O i li ; Mu um Th e t an d c e a t or of St eet . e o o r wri r mpil r , u h als N o tes o an A r t C ollector e e t e t w el f , has vid n ly k p l a e t o f o e t i an d o s r o s br as m d rn cri ic sm , Sh w in va i u ” places a co mmendable Spiri t o f in d epen denee an d commo e se e e t e e m a be ot n ve n s n , v n if h r y n hi g ry / fr esh — in a good d eal Of what h e has to say in h is ch ter e of t e o e t a e e é é of ap s , ach h m m r h n a m r r sum ’ on e o e e o f th e a t c r s je t on su s kn wl dg p r i ula ub c , ch “ - fam t e e as Th e E ar l Dr am a I n n Y ar ds , iliar h m s y , Th e Th ea tr es L on d on Th eatr ical C ompan ies C our t , , m s h k es e r s n cto Th P r or n ce an d S a a a a A r . e f a , p e e ast an d e a s th e ost a a e o t o o f . l , p rh p m v lu bl p r i n Mr ’ on as s oo ea t Co ete t o f J b k , d ls wi h a mpl Lis Theatric al Terms used by Shakesp eare in his Plays ’ an d o e a r e A a et c a e an d P ms, r ang d in lph b i l Ord r ” E la to N ote t o e t e xp na ry s , his f rming a f a ur hardly e ver t r eated so fully ; an d of great interest also ar e the i t t o c a e of th e llus ra i ns , in luding m ny facsimil s t t e- a e o t s e e o f old a th e a t or i l p g s and fr n i pi c s pl ys , u h a acknowledging his indebtedness to Mr . H . Fr nklin Wa h or n wh o a o e to t e oto of g , was ll w d ak ph graphs rar e books in th e Br iti sh M useum ; and to Mr . Fle o th e o for th e a es a e ming , by wh m bl cks f csimil h v ee e ec te a b n x u d dmirably . In picking o ut a few of th e theatric al allusions w o a h as ta e a hich Mr . J n s k n p ins to coll ate and com e o w t u , e t a e e a e e e e to th e m n , p n migh m k sp ci l r f r nc interesting - discussion raised by him on th e passag e ' f o A ll s Well : t Sir led th e m r m Fai h , , had dru befor e th e E nglis h trage di ans to th e Nine ’ Wo o rthies (L ve s Labour Lo st an d H enry ’ Part BL ) ; Whitsun Pastor als (Th e Winte r s Tal e) ; Ji s ea t - S o w th e o o e th e g , Pag n s , Dumb h , H bby H rs , Vice- o a nd s o o n et th e e gr undlings , (Haml ) ; w ll g r ac ed actor (Ric hard th e d eep tr agedian ‘ ’ Bu ee R so o t ( ckingham s Sp ch in ichard and f r h , and so forth . Sp eaking of th e rem arks about th e bo - e a et th e t o a a t y play rs in H ml , au h r s ys p ly Th ese topical referenc es must be treated sensibly and log ically ; th e s afest plan is to igno re them com pletely w itho ut ample evid enc e is fort hcoming of the ir ea e te e ot e e it e lea th e r l xis nc , h rwis will sur ly d ” “ c m o Wood en o mentator into v ari us pitfalls . This 0 (Henry an d Hung be th e Heavens with t B a o th e o t e . a . ) l ck (fr m d ub ful H nry VI , P r I b o e Th e e K n might also e n t d . lin s from i g John A s a t eat e e t e a e in h r , wh n h y g p an d p oint A t your industri ous sc enes an d acts o f d eath ea o as o o e o we a t e t t l d Mr . J n , fr m wh s w rk p r r luc an ly , t e et to t s s t at t a o f t o t and wi h r gr , hi imul ing r in h ugh I t will be generally Observ e d that when Shake s e e t o e a s e a o t eat ar t p ar in r duc d imil dr wn fr m h rical , o t si e O f a at e a o her mil s like n ure r gul rly f llow . An inter esting study co uld be m ad e of inquiry wh ether o f e o this rule appli es to o ther dramatists th e p ri d . Perhap s so me p ati ent a n d industrio us student will col e t all th e assa e be a on t e t an d l c p g s ring his subj c , ” h th e f a .