Of the personal history of Shakespeare, and of the usages of theatres formerly in relation to dramatic productions, so little is now known, that it is impossible to say why he made no provision for the publication of his transcendent works. Whether, having written them for the stage, he was satisfied with their success in that arena, or had forfeited the power of giving them a wider circulation, or was confident enough in their merits to believe they must survive all accidents, no one probably will ever determine. All we know upon the subject is, that, unlike his learned contemporary, Jonson, he published no collection of his “Plays” as “Works,” and that although some of them were printed during his life, and possibly with his sanction, there is no evidence to show that any one of them was ever corrected by his own hand. What is strange, too, of a writer so remarkable and of compositions so admired, not a poem, a play, or fragment of either, in his manuscript, has come down to us. What is still more surprising, with the exception of five or six signatures, not a word in his handwriting is known to exist!

The first collective edition of his dramas did not appear till seven years after his death. This was the famous folio of 1623, in which his “fellows” Heminge and Condell brought together rather than edited the whole of the plays, Pericles excepted, which are by common consent ascribed to him.