Five more Shakespearean quartos followed between 1634 and 1639. Between 1652 and 1655 two other {125} quartos were published. The Third Folio, 1664, was published by Philip Chetwind, who had married the widow of Robert Allott and thus got most of the rights in the Second Folio. Chetwind's Folio is famous, not only for the addition of _Pericles_, which alone it was his first intention to include, but also for the addition of six spurious plays--_Sir John Oldcastle, The Yorkshire Tragedie, A London Prodigall, The Tragedie of Locrine, Thomas, Lord Cromwell_, and _The Puritaine_, or _The Widdow of Watling Streete_. Chetwind's reason for thus adding these plays was that they had passed under Shakespeare's name or initials in their earliest prints. The Fourth Folio, 1685, is a mere reprint of the Third. With the Fourth Folio ends the early history of how Shakespeare got into print. From that time to this a long line of famous and obscure men, at first mostly men of letters, but afterwards, and especially in our own times, trained specialists in their profession, have devoted much of their lives to the editing of Shakespeare. Their ideal has been, usually, to give readers the text of his poems and plays in their presumed primitive integrity. Constant study of his works, and of other Elizabethan writers, has given them a certain knowledge of the words and grammatical usages of that day which go far to make Elizabethan English a foreign tongue to us. On the other hand, more knowledge about the conditions of printing in Shakespeare's time has helped the editors very greatly in their attempts to set right a passage which was misprinted in the earliest printed text, or a line of which two early texts give different versions. {126} An example of the difficulties that still confront editors may be given from _II Henry IV_, IV, i, 94-96:-- "_Archbishop_. My brother general, the commonwealth, To brother born, an household cruelty. I make my quarrel in particular." Nobody knows what Shakespeare meant to say in this passage, and no satisfactory guess has ever been made as to what has happened to these lines. A knowledge of Elizabethan English has cleared up the following passage perfectly. According to the First Folio, the only early print, Antony calls Lepidus, in _Julius Caesar_, IV, i, 36-37:-- "A barren-spirited fellow; one that feeds On objects, arts, and imitations...." This has been corrected to read in the second line "On abjects, orts, and imitations." Abjects here means outcasts, and orts, scraps, or leavings; but no one unfamiliar with the language of that time could have solved the puzzle.