es the textual
variations of all preceding editions, and supplies the best and fullest
_apparatus criticus_. (Of new editions, one dated 1887 is also in nine
volumes, and another, dated 1893, in forty volumes.)

Other nineteenth-century editions.

Other editors of the complete works of Shakespeare of the nineteenth
century whose labours, although of some value, present fewer distinctive
characteristics are:--William Harness (1825, 8 vols.); Samuel Weller
Singer (1826, 10 vols., printed at the Chiswick Press for William
Pickering, illustrated by Stothard and others; reissued in 1856 with
essays by William Watkiss Lloyd); Charles Knight, with discursive notes
and pictorial illustrations by F. W. Fairholt and others ('Pictorial
edition,' 8 vols., including biography and the doubtful plays, 1838-43,
often reissued under different designations); Bryan Waller Procter,
_i.e._ Barry Cornwall (1839-43, 3 vols.); John Payne Collier (1841-4, 8
vols.; another edition, 8 vols., privately printed, 1878, 4to); Samuel
Phelps, the actor (1852-4, 2 vols.; another edition, 1882-4); J. O.
Halliwell (1853-61, 15 vols. folio, with an encyclopaedic collection of
annotations of earlier editors and pictorial illustrations); Richard
Grant White (Boston, U.S.A., 1857-65, 12 vols.); W. J. Rolfe (New York,
1871-96, 40 vols.); the Rev. H. N. Hudson (the Harvard edition, Boston,
1881, 20 vols.) The latest complete annotated editions published in this
country are 'The Henry Irving Shakespeare,' edited by F. A. Marshall and
others--especially useful for notes on stage history (8 vols.
1888-90)--and 'The Temple Shakespeare,' concisely edited by Mr. Israel
Gollancz (38 vols. 12mo, 1894-6).

Of one-volume editions of the unannotated text, the best are the Globe,
edited by W. G. Clark and Dr. Aldis Wright (1864, and constantly
reprinted--since 1891 with a new and useful glossary); the Leopold (1876,
from the text of Delius, with preface by Dr. Furnivall); and the Oxford,
edited by Mr. W. J. Craig (1894).

XX--POSTHUMOUS REPUTATION

Shakespeare defied at every stage in his career the laws of the classical
drama. He rode roughshod over the unities of time, place, and action.
There were critics in his day who zealously championed the ancient rules,
and viewed with distrust any infringement of them. But the force of
Shakespeare's genius--its revelation of new methods of dramatic art--was
not lost on the lovers of the ancient ways; and ev