For example, in the _Merry Wives of Windsor_, II. 3. 80, we have assumed Mr Dyce's conjecture, 'Cried I aim?' to be the only satisfactory reading of a passage decidedly wrong; but in the same play, IV. 1. 63, 'Woman, art thou lunaties?' as the error may equally possibly be evaded by reading 'lunacies' with Rowe, and 'lunatics' with Capell, we have retained the error. The well-known canon of criticism, that of two readings 'ceteris paribus' the more difficult is to be preferred, is not always to be applied in comparing the readings of the Folios. For very frequently an anomaly which would have been plausible on account of its apparent archaism proves to be more archaic than Shakespeare, if the earlier Quartos give the language of Shakespeare with more correctness. Ex. _Midsummer Night's Dream_, III. 2: 'Scorn and derision never come in tears' Qq; 'comes' Ff; and in the same play, IV. 1: 'O how mine eyes do loath' Q1, altered to 'doth loath' in Q2 F1, and restored, evidently by a grammatical reviser, to 'do loath' in F2 F3 F4. Again, I. 1: 'what all but he do know,' Qq, is altered to 'doth know' in Ff. This last error points to a very common anomaly in grammar; one which seems almost to have become a rule, or, at any rate, a license in Shakespeare's own time, that a verb shall agree in number with the nominative intervening between the true governing noun and the verb. B. _Grammar._ In general, we do not alter any passage merely because the grammar is faulty, unless we are convinced that the fault of grammar was due to the printer altogether, and not to Shakespeare. We look upon it as no part of our task to improve the poet's grammar or correct his oversights: even errors, such as those referred to in note (VII) to the _Two Gentlemen of Verona_, and notes (I) and (X) to the _Merry Wives of Windsor_, because we thought them to be Shakespeare's own blunders, have been allowed to stand. But many phrases that are called bad grammar by us, and rightly so called, were sanctioned by usage among the contemporaries of Shakespeare, especially, no doubt, by the usage of conversation, even among educated persons. And as a learned correspondent (Dr B. Nicholson) remarks, this would naturally be the style of English which Shakespeare would purposely use in dramatic dialogue. As examples of the anomalies of grammar sanctioned by Elizabethan usage we may mention:-- Singular verbs, with plural nouns, especially when the verb precedes its nominative: Hath all his ventures failed? What; not one hit? _Merchant of Venice_, III. 2. Nominatives for accusatives: She should this Angelo have married. _Measure for Measure_, III. 1. 204. And repeatedly 'who' for 'whom.' Omission of prepositions: Most ignorant of what he's most assured. _Ibid._ II. 2. 119. ------ which now you censure him. _Ibid._ II. 1. 15.