What we have to state regarding the text of this play applies strictly to all the others. We have given, as far as modern typography would allow, faithful representations of the original copies, with the close observation of spelling and other peculiarities. If, for the sake of mere intelligibility, we have rarely added a word or even a letter, we have always inserted it between brackets; and for the settlement of difficulties, and the illustration of obscure customs and allusions, we refer to the notes which succeed each play. We might have subjoined them at the foot of the page, but we thought they would be considered by many a needless interruption; while, if we had reserved the whole for the end of our volume, their bulk, and the numerous paginal references might have produced confusion and delay. We judged it best, therefore, to follow each separate production by the separate notes applicable to it; and the reader will thus have, as far as our knowledge extends, the ready means of required explanation, which we have endeavoured to compress into the smallest compass. We ought to add, that the only liberty we have taken is with the old and ill-regulated punctuation[3] which it was often necessary to alter, that the sense of the author might be understood and appreciated.
The production which stands second in this volume may also be looked upon, in another sense, as intermediate with reference to stage-performances. It has for title "The rare Triumphs of Love and Fortune," and was probably designed by its unknown author for a court-show. The earliest information we possess regarding it establishes that it was represented before Queen Elizabeth between Christmas 1581 and February 1582. The following is the entry regarding it in the Accounts of the office of the Revels of that date:--
"A Historic of Love and Fortune, shewed before her Majestie at Wyndesor, on the sondaie at night next before new yeares daie. Enacted by the Earle of Derbies servauntes. For which newe provision was made of one Citty and one Battlement of Canvas, iij Ells of sarcenet, a [bolt] of canvas, and viij paire of gloves, with sondrey other furniture in this office."[4]
There exists in the same records a memorandum respecting "The play of Fortune" ten years earlier,[5] but the terms employed are so general, that we do not feel warranted in considering it "The rare Triumphs of Love and Fortune" which we have reprinted: the "History of Love and Fortune," mentioned in the preceding quotation from the Revels' Accounts, was no doubt the drama under consideration; and we see that, besides sarcenet and gloves, the new properties (as they were then, and still are, called) necessary for the performance were a city and a battlement to be composed of, or represented on, canvas. We may perhaps conclude that the piece was not written long before it was acted at Windsor; but it did not come from the press until 1589, and the sole copy of it is preserved in the library of the Earl of Ellesmere, who, in his known spirit of liberal encouragement, long since permitted the Editor to make a transcript of it. We have met with no entry of its publication in the Registers of the Stationers' Company.