Preface. FRANCIS MERES, 1598,-who mentions twelve of Shakespeare's plays, then known, does not mention "Much Ado About Nothing"; and this comedy was first published in 1600. The date of its composition is indicated by these facts. That part of it which relates to Hero and Claudio is founded on the story of Genevra and Ariodant, in Ariosto's “Orlando Furioso"-a translation of which, by Sir John Harrington, appeared in England, in 1591. There is a similar story in one of Bandello's novels, translated by Belleforest, and also in Spenser's "Faerie Queen;" Book ii, Canto 4th, 1590. An earlier play, touching upon the same theme, was acted before Queen Elizabeth, by "the Children of Paul's," in 1582-3. Either or all of these may have met the eye of Shakespeare. His treatment of the story, however, is found to be entirely his own; and he may, in fact, be said to have re-created it. Benedick and Beatrice, Dogberry and Verges, and all that relates to these characters, are the invention of Shakespeare. The text of "Much Ado,” as first published, was not divided into acts; but, in the Folio of 1623 these divisions appear. The comedy was popular in Shakespeare's time, and it has always been a favourite in the theatres. The original representative of Dogberry was William Kempe; who, also, probably, was the original of Bottom. Verges was first acted by Towley ; and Balthazar,--with the song of "Sigh no more, ladies," -by Wilson: these facts are denoted in the Folio reprint. The period of "Much Ado" is supposed to be about 1529-35; for the reason that the last war in which the Italians under Spanish rule were engaged was ended in 1529, and the Emperor Charles V., of Spain, who had gained the crowns of Naples and Sicily, made a triumphal entry into Palermo and Messina in 1535. To these events the opening of the comedy seems to refer. The present acting-copy of "Much Ado," which differs from all others, condenses the piece from five acts into three. The volume of excisions is, of course, considerable. The most important sacrifice is that of the scene in which Dogberry bestows his "tediousness" upon Leonato. Balthazar's song will also be missed. It is thought, though, that this version of "Much Ado" which has been effectually tested in the practical experience of Edwin Booth-does no injustice to either the story, the characters, the movement, or the text of the original. The stage copy generally used is that which John Philip Kemble arranged, in 1799. The animalism, the self-assertive intrusiveness, and the rank flippancy of Benedick and Beatrice-qualities which caused Campbell to characterize the lady as " odious," and the cavalier as only a little less disagreeable-are apparent in the original, but subdued in the acting version, The most admired Benedick of the last century was Garrick; the most brilliant representatives of Beatrice were Mrs. Pritchard and Mrs. Abing |