and quietly made a number of sensible emendations. It is the first
edition to include _dramatis personae_, the first to attempt a
systematic division of all the plays into acts and scenes, and the first
to give to scenes their distinct locations. It is the first of many
illustrated editions. It is the first to abandon the clumsy folio format
and to attempt to bring the plays within reach of the understanding and
the pocketbooks of the average reader. Finally, it is the first to
include an extended life and critique of the author.

Shakespeare scholars from Pope to the present have not been kind to Rowe
either as editor or as critic; but all eighteenth-century editors
accepted many of his emendations, and the biographical material that he
and Betterton assembled remained the basis of all accounts of the
dramatist until the scepticism and scholarship of Steevens and Malone
proved most of it to be merely dubious tradition. Johnson, indeed, spoke
generously of the edition. In the _Life of Rowe_ he said that as an
editor Howe "has done more than he promised; and that, without the pomp
of notes or the boast of criticism, many passages are happily restored."
The preface, in his opinion, "cannot be said to discover much profundity
or penetration." But he acknowledged Rowe's influence on Shakespeare's
reputation. In our own century, more justice has been done Rowe, at
least as an editor.[1]

The years 1709-14 were of great importance in the growth of
Shakespeare's reputation. As we shall see, the plays as well as the
poems, both authentic and spurious, were frequently printed and bought.
With the passing of the seventeenth-century folios and the occasional
quartos of acting versions of single plays, Shakespeare could find a
place in libraries and could be intimately known by hundreds who had
hitherto known him only in the theater. Tonson's business acumen made