Jean Pierre Simon 'John Peter Simon, the Younger' & William Hamilton

Shakspeare. Much Ado About Nothing. Act IV, Scene I. Published June 4th. 1790. by John & Josiah Boydell, at the Shakspeare Gallery Pall Mall & at No. 90. Cheapside. London. Engraved by Peter Simon. Painted by William Hamilton.

Claudio. Let me but move one question to your daughter;
And by that fatherly and kindly power
That you have in her, bid her answer truly.

Leonato. I charge thee do so, as thou art my child.

Hero. O, God defend me! How am I beset!
What kind of catechizing call you this?

Claudio. To make you answer truly to your name.

Hero. Is it not Hero? Who can blot that name
With any just reproach?

Claudio. Marry, that can Hero;
Hero itself can blot out Hero’s virtue.
What man was he talk’d with you yesternight
Out at your window betwixt twelve and one?
Now, if you are a maid, answer this.

Hero. I talk’d with no man at this hour, my lord.

Don Pedro. Why, then are you no maiden. Leonato,
I am sorry you must hear: upon mine honour,
Myself, my brother and this grieved count
Did see her, hear her, at that hour last night
Talk with a ruffian at her chamber-window
Who hath indeed, most like a liberal villain,
Confess’d the vile encounters they have had
A thousand times in secret.

Don John. Fie, fie! They are not to be named, my lord,
Not to be spoke of;
There is not chastity enough in language
Without offence to utter them. Thus, pretty lady,
I am sorry for thy much misgovernment.

Claudio. O Hero, what a Hero hast thou been,
If half thy outward graces had been placed
About thy thoughts and counsels of thy heart!
But fare thee well, most foul, most fair! Farewell,
Thou pure impiety and impious purity!
For thee I’ll lock pup al the gates of love,
And on my eyelids shall conjecture hang,
To turn all beauty into thoughts of harm,
And never shall it more be gracious.

Leonato. Hath no man's dagger here a point for me? [Hero swoons]

Beatrice. Why, how now, cousin? wherefore sink you down?

Don John. Come, let us go: these things, come thus to light,
Smother her spirits up. etc. etc. ... * Shakespeare

This original engraving is based upon a William Shakespeare play, Much Ado About Nothing. Act IV, Scene I. The scene takes place at the church with Friar Francis performing the wedding ceremony for Hero (the bride) and Claudio (the groom), both dressed in white. The wedding guests include, Don Pedro, the Prince of Aragon, her father, Leonato, the Governor of Messina and her cousin, Beatrice, Hero’s childhood friend and Beatrice’s suitor, Benedick, the Prince’s wicked half brother, Don John, and other guests. Here, the fair maiden, Hero has just fainted as a result of Claudio’s angry, and unjust accusations. Having been deceived by the wicked Don Juan, Claudio truly believes Hero has been unfaithful. As one can see here, it is causing much concern and grief among the guests. This Shakespeare play includes the characters of, Hero, a quiet, and dutiful girl. She is the daughter of Leonato, a kind and wise gentleman, who is the Governor of Messina. After being highly recommended by Don Pedro, the Prince of Aragon, Leonato has selected Claudio to be Hero's future husband.

Claudio is from Florence and a Count of Don Pedro's suite. Although Claudio is of a jealous nature and not very bright he is young, very handsome and has distinguished himself in war. On her wedding day, Hero is falsely accused by Claudio of being unfaithful, causing much grief, thus ending the ceremony. In the end, she is absolved and the wedding plans resume. Hero and her friend (a waiting-gentlewoman) plot to make Beatrice, her cousin fall in love with Benedick, a gentleman of Padua who also serves in Don Pedro's army. Beatrice has been brought up by her uncle Leonato since she was orphaned. She is candid and witty, but has a quick tongue for ridicule, a talent she enjoys exercising on Benedick. Benedick professes great distaste for women and marriage, but enjoys his witty and fervent conversations with Beatrice, however, when he is tested, he acknowledges his love for her. In the end it is discovered that the wicked Don Juan, the half-brother of Don Pedro was responsible for everything. He had planned to kill Hero, hurt Claudio, and dishonour Don Pedro. When he failed do so, he fled, but was caught and punished. Other characters include Antonio, Leonato's brother, Balthasar, Borachio, Friar Francis, Dogberry, Vergas Sexton, Margaret, etc.

This original engraving is an 'Open Letter Proof Impression'. 3. ‘Open Letter Proofs’. These impressions bear the title of the play. The heading, ‘Shakespeare’, is yet to be filled in with stippling. These impressions were printed before the publication of the first edition and were probably struck from the plate at a customer’s request. Perhaps ten to twenty Open Letter Proofs exist for each engraving. The text below the image of this proof impression reads; "Shakspeare. Much Ado About Nothing. Act IV, Scene I. Published June 4th. 1790. by John & Josiah Boydell, at the Shakspeare Gallery Pall Mall & at No. 90. Cheapside. London. Engraved by Peter Simon. Painted by William Hamilton."

Note: As this is an original proof impression, it lacks the following text that appears in later impressions.

"Leon. Hath no man's dagger here a point for me? [Hero swoons]
Beat. Why, how now, cousin? wherefore sink you down?
[Hero swoons.
John. Come, let us go: these things, come thus to light,
Smother her spirits up."

An Important Note on Boydell States and Editions: Proof impressions and true first edition impressions are easily identified by their fine lines and strong contrasts of black and white tones. Later more common editions print in a more overall grey tone and contain areas of re-working. Briefly, the publishing history of these great engravings can be categorized into five states or editions:

1. 'Artist's Proofs'. These are the earliest of states and were printed in only a handful of impressions. They are identified not only by their vibrant lines and tones but by the fact that they lack any letters along the lower margin.
2. 'Proofs Before Title'. These impressions usually contain the names of the artist, publisher and engraver along the lower margin. They lack the title of the specific play depicted and usually the heading -- 'Shakspeare' -- is smaller than in the published edition. Once again, this state was printed in a very small numbers.
3. 'Open Letter Proofs'. These impressions bear the title of the play. the heading, 'Shakspeare' (Shakespeare), is yet to be filled in with stippling. These impressions were printed before the publication of the first edition and were probably struck from the plate at a customer's request. Perhaps ten to twenty Open Letter Proofs exist for each engraving.
4. 'First Edition Impressions'. The completed set of Boydell's Shakespeare engravings was published in London in 1803. The full publisher's address appears along the lower margin as well as the text for the play. The heading, 'Shakspeare', is now filled in with stippling. Both first edition impressions and proofs were most often printed on either hand-made, laid paper or wove paper bearing the 'J. Whatman' watermark.
5. 'Posthumous Impressions and Restrikes' As early as 1807, John Stockdale of London issued a second edition of the Shakespeare prints. They continued to be published throughout the first half of the nineteenth century. Finally, in 1852, an enterprising dentist in New York City (with the delightful name of Shearjashub Spooner) acquired the plates, restored them and produced the last edition. These prints are most commonly offered for sale.

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