Letter III.

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Sir, Feb. 8.

I come now to the main Argument, which some People urge to prove that Shakespear was conversant with the Ancients. For there is, say they, among Shakespear's Plays, one call'd The Comedy of Errors, which is undeniably an Imitation of the Menechmi of Plautus. Now Shakespear, say they, being conversant with Plautus, it undeniably follows that he was acquainted with the Ancients; because no Roman Author could be hard to him who had conquer'd Plautus. To which I answer, that the Errors which we have mention'd above are to be accounted for no [pg 039] other way but by the want of knowing the Ancients, or by downright want of Capacity. But nothing can be more absurd or more unjust than to impute it to want of Capacity. For the very Sentiments of Shakespear alone are sufficient to shew that he had a great Understanding: And therefore we must account some other way for his Imitation of the Menechmi. I remember to have seen, among the Translations of Ovid's Epistles printed by Mr. Tonson, an Imitation of that from Œnone to Paris, which Mr. Dryden tells us in his Preface to those Epistles was imitated by one of the Fair Sex who understood no Latin, but that she had done enough to make those blush who understood it the best. There are at this day several Translators, who, as Hudibrass has it,

Translate from Languages of which
They understand no part of Speech.

I will not affirm that of Shakespear; I believe he was able to do what Pedants call construe, but that he was able to read Plautus without Pain and Difficulty I can never believe. Now I appeal to you, Sir, what time he had between his Writing and his Acting, to read any thing that could not be read with Ease and Pleasure. We see that our Adversaries themselves acknowledge, that if Shakespear was able to read Plautus with Ease, nothing in Latinity could be hard to him. How comes it to pass then, that he has given us no Proofs of his familiar Acquaintance with the Ancients, but this Imitation of the Menechmi, and a Version of two Epistles of Ovid? How comes it that he had never read Horace, of a superiour Merit to either, and particularly his Epistle to the Piso's, which so much concern'd his Art? Or if he had read that Epistle, how comes it that in his Troylus and Cressida [we must observe by the way, that when Shakespear wrote that Play, Ben Johnson had not as yet translated that Epistle] he runs counter to the Instructions which [pg 040] Horace has given for the forming the Character of Achilles?

Scriptor: Honoratum si forte reponis Achillem,
Impiger, Iracundus, Inexorabilis, Acer,
Jura neget sibi nata.

Where is the Impiger, the Iracundus, or the Acer, in the Character of Shakespear's Achilles? who is nothing but a drolling, lazy, conceited, overlooking Coxcomb; so far from being the honoured Achilles, the Epithet that Homer and Horace after him give him, that he is deservedly the Scorn and the Jest of the rest of the Characters, even to that Buffoon Thersites.

Tho' Shakespear succeeded very well in Comedy, yet his principal Talent and his chief Delight was Tragedy. If then Shakespear was qualify'd to read Plautus with Ease, he could read with a great deal more Ease the Translations of Sophocles and Euripides. And tho' by these Translations he would not have been able to have seen the charming colouring of those great Masters, yet would he have seen all the Harmony and the Beauty of their great and their just Designs. He would have seen enough to have stirr'd up a noble Emulation in so exalted a Soul as his. How comes it then that we hear nothing from him of the Œdipus, the Electra, the Antigone of Sophocles, of the Iphigenia's, the Orestes, the Medea, the Hecuba of Euripides? How comes it that we see nothing in the Conduct of his Pieces, that shews us that he had the least Acquaintance with any of these great Masterpieces? Did Shakespear appear to be so nearly touch'd with the Affliction of Hecuba for the Death of Priam, which was but daub'd and bungled by one of his Countrymen, that he could not forbear introducing it as it were by Violence into his own Hamlet, and would he make no Imitation, no Commendation, not the least Mention of the unparallell'd and inimitable Grief of the Hecuba of Euripides? How comes it that we find no Imitation of any ancient Play in Him but the [pg 041] Menechmi of Plautus? How came he to chuse a Comick preferably to the Tragick Poets? Or how comes he to chuse Plautus preferably to Terence, who is so much more just, more graceful, more regular, and more natural? Or how comes he to chuse the Menechmi of Plautus, which is by no means his Master-piece, before all his other Comedies? I vehemently suspect that this Imitation of the Menechmi was either from a printed Translation of that Comedy which is lost, or some Version in Manuscript brought him by a Friend, or sent him perhaps by a Stranger, or from the original Play it self recommended to him, and read to him by some learned Friend. In short, I had rather account for this by what is not absurd than by what is, or by a less Absurdity than by a greater. For nothing can be more wrong than to conclude from this that Shakespear was conversant with the Ancients; which contradicts the Testimony of his Contemporary and his familiar Acquaintance Ben Johnson, and of his Successor Milton;

Lo Shakespear, Fancy's sweetest Child,
Warbles his native Wood-notes wild;

and of Mr. Dryden after them both; and which destroys the most glorious Part of Shakespear's Merit immediately. For how can he be esteem'd equal by Nature or superior to the Ancients, when he falls so far short of them in Art, tho' he had the Advantage of knowing all that they did before him? Nay it debases him below those of common Capacity, by reason of the Errors which we mention'd above. Therefore he who allows that Shakespear had Learning and a familiar Acquaintance with the Ancients, ought to be look'd upon as a Detractor from his extraordinary Merit, and from the Glory of Great Britain. For whether is it more honourable for this Island to have produc'd a Man who, without having any Acquaintance with the Ancients, or any but a slender [pg 042] and a superficial one, appears to be their Equal or their Superiour by the Force of Genius and Nature, or to have bred one who, knowing the Ancients, falls infinitely short of them in Art, and consequently in Nature it self? Great Britain has but little Reason to boast of its Natives Education, since the same that they had here, they might have had in another place. But it may justly claim a very great share in their Nature and Genius, since these depend in a great measure on the Climate; and therefore Horace, in the Instruction which he gives for the forming the Characters, advises the noble Romans for whose Instruction he chiefly writes to consider whether the Dramatick Person whom they introduce is

“ Colchus an Assyrius, Thebis nutritus an Argis. ”

Thus, Sir, I have endeavour'd to shew under what great Disadvantages Shakespear lay, for want of the Poetical Art, and for want of being conversant with the Ancients.

But besides this, he lay under other very great Inconveniencies. For he was neither Master of Time enough to consider, correct, and polish what he wrote, to alter it, to add to it, and to retrench from it, nor had he Friends to consult upon whose Capacity and Integrity he could depend. And tho' a Person of very good Judgment may succeed very well without consulting his Friends, if he takes time enough to correct what he writes; yet even the greatest Man that Nature and Art can conspire to accomplish, can never attain to Perfection, without either employing a great deal of time, or taking the Advice of judicious Friends. Nay, 'tis the Opinion of Horace that he ought to do both.

Siquid tamen olim
Scripseris, in Metii descendat Judicis aures,
Et Patris, & nostras; nonumque prematur in Annum.

Now we know very well that Shakespear was an Actor, [pg 043] at a time when there were seven or eight Companies of Players in the Town together, who each of them did their utmost Endeavours to get the Audiences from the rest, and consequently that our Author was perpetually call'd upon, by those who had the Direction and Management of the Company to which he belong'd, for new Pieces which might be able to support them, and give them some Advantage over the rest. And 'tis easie to judge what Time he was Master of, between his laborious Employment of Acting and his continual Hurry of Writing. As for Friends, they whom in all likelihood Shakespear consulted most were two or three of his Fellow-Actors, because they had the Care of publishing his Works committed to them. Now they, as we are told by Ben Johnson in his Discoveries, were extremely pleas'd with their Friend for scarce ever making a Blot; and were very angry with Ben for saying he wish'd that he had made a thousand. The Misfortune of it is that Horace was perfectly of Ben's, mind.

——Vos, O
Pompilius sanguis, carmen reprehendite, quod non
Multa dies & multa litura coercuit, atque
PrÆsectum decies non castigavit ad unguem.

And so was my Lord Roscommon.

Poets lose half the Praise they should have got,
Could it be known what they discreetly blot.

These Friends then of Shakespear were not qualify'd to advise him. As for Ben Johnson, besides that Shakespear began to know him late, and that Ben was not the most communicative Person in the World of the Secrets of his Art, he seems to me to have had no right Notion of Tragedy. Nay, so far from it, that he who was indeed a very great Man, and who has writ Comedies, by which he has born away the Prize of Comedy both from Ancients and Moderns, and been an Honour to Great Britain; and who has [pg 044] done this without any Rules to guide him, except what his own incomparable Talent dictated to him; This extraordinary Man has err'd so grossly in Tragedy, of which there were not only stated Rules, but Rules which he himself had often read, and had even translated, that he has chosen two Subjects, which, according to those very Rules, were utterly incapable of exciting either Compassion or Terror for the principal Characters, which yet are the chief Passions that a Tragick Poet ought to endeavour to excite. So that Shakespear having neither had Time to correct, nor Friends to consult, must necessarily have frequently left such faults in his Writings, for the Correction of which either a great deal of Time or a judicious and a well-natur'd Friend is indispensably necessary.

Vir bonus & prudens versus reprehendet inertes,
Culpabit duros, incomptis allinet atrum
Transverso calamo signum, ambitiosa recidet
Ornamenta, parum claris lucem dare coget,
Arguet ambigue dictum, mutanda notabit.

There is more than one Example of every kind of these Faults in the Tragedies of Shakespear, and even in the Coriolanus. There are Lines that are utterly void of that celestial Fire of which Shakespear is sometimes Master in so great a Degree. And consequently there are Lines that are stiff and forc'd, and harsh and unmusical, tho' Shakespear had naturally an admirable Ear for the Numbers. But no Man ever was very musical who did not write with Fire, and no Man can always write with Fire, unless he is so far Master of his Time, as to expect those Hours when his Spirits are warm and volatile. Shakespear must therefore sometimes have Lines which are neither strong nor graceful: For who ever had Force or Grace that had not Spirit? There are in his Coriolanus, among a great many natural and admirable Beauties, three or four of those Ornaments which Horace would term ambitious; and which we in English [pg 045] are apt to call Fustian or Bombast. There are Lines in some Places which are very obscure, and whole Scenes which ought to be alter'd.

I have, Sir, employ'd some Time and Pains, and that little Judgment which I have acquir'd in these Matters by a long and a faithful reading both of Ancients and Moderns, in adding, retrenching, and altering several Things in the Coriolanus of Shakespear, but with what Success I must leave to be determin'd by you. I know very well that you will be surpriz'd to find, that after all that I have said in the former Part of this Letter against Shakespear's introducing the Rabble into Coriolanus, I have not only retain'd in the second Act of the following Tragedy the Rabble which is in the Original, but deviated more from the Roman Customs than Shakespear had done before me. I desire you to look upon it as a voluntary Fault and a Trespass against Conviction: 'Tis one of those Things which are ad Populum PhalerÆ, and by no means inserted to please such Men as you.

Thus, Sir, have I laid before you a short but impartial Account of the Beauties and Defects of Shakespear, with an Intention to make these Letters publick if they are approv'd by you; to teach some People to distinguish between his Beauties and his Defects, that while they imitate the one, they may with Caution avoid the other [there being nothing of more dangerous Contagion to Writers, and especially to young ones, than the Faults of great Masters], and while with Milton they applaud the great Qualities which Shakespear had by Nature, they may follow his wise Example, and form themselves as he assures us that he himself did, upon the Rules and Writings of the Ancients.

Sir, if so candid and able a Judge as your self shall happen to approve of this Essay in the main, and to excuse and correct my Errors, that Indulgence and that Correction will not only encourage me to make these Letters publick, but will enable me to bear the [pg 046] Reproach of those who would fix a Brand even upon the justest Criticism, as the Effect of Envy and Ill-nature; as if there could possibly be any Ill-nature in the doing Justice, or in the endeavouring to advance a very noble and a very useful Art, and consequently to prove beneficent to Mankind. As for those who may accuse me of the want of a due Veneration for the Merit of an Author of so establish'd a Reputation as Shakespear, I shall beg leave to tell them, that they chuse the wrongest time that they could possibly take for such an Accusation as that. For I appeal to you, Sir, who shews most Veneration for the Memory of Shakespear, he who loves and admires his Charms and makes them one of his chief Delights, who sees him and reads him over and over and still remains unsatiated, and who mentions his Faults for no other Reason but to make his Excellency the more conspicuous, or he who, pretending to be his blind Admirer, shews in Effect the utmost Contempt for him, preferring empty effeminate Sound to his solid Beauties and manly Graces, and deserting him every Night for an execrable Italian Ballad, so vile that a Boy who should write such lamentable Dogrel would be turn'd out of Westminster-School for a desperate Blockhead, too stupid to be corrected and amended by the harshest Discipline of the Place?

I am,
Sir,
Yours, &c.

[pg 047]

It is not my design to enter into a Criticism upon this Author; tho' to do it effectually and not superficially would be the best occasion that any just Writer could take, to form the judgment and taste of our nation. For of all English Poets Shakespear must be confessed to be the fairest and fullest subject for Criticism, and to afford the most numerous as well as most conspicuous instances, both of Beauties and Faults of all sorts. But this far exceeds the bounds of a Preface, the business of which is only to give an account of the fate of his Works, and the disadvantages under which they have been transmitted to us. We shall hereby extenuate many faults which are his, and clear him from the imputation of many which are not: A design, which, tho' it can be no guide to future Criticks to do him justice in one way, will at least be sufficient to prevent their doing him an injustice in the other.

I cannot however but mention some of his principal and characteristic Excellencies, for which (notwithstanding his defects) he is justly and universally elevated above all other Dramatic Writers. Not that this is the proper place of praising him, but because I would not omit any occasion of doing it.

[pg 048]

If ever any Author deserved the name of an Original, it was Shakespear. Homer himself drew not his art so immediately from the fountains of Nature; it proceeded thro' Ægyptian strainers and channels, and came to him not without some tincture of the learning, or some cast of the models, of those before him. The Poetry of Shakespear was Inspiration indeed: he is not so much an Imitator, as an Instrument, of Nature; and 'tis not so just to say that he speaks from her, as that she speaks thro' him.

His Characters are so much Nature her self, that 'tis a sort of injury to call them by so distant a name as Copies of her. Those of other Poets have a constant resemblance, which shews that they receiv'd them from one another, and were but multiplyers of the same image: each picture, like a mock-rainbow, is but the reflexion of a reflexion. But every single character in Shakespear is as much an Individual as those in Life itself; it is as impossible to find any two alike; and such as from their relation or affinity in any respect appear most to be Twins, will upon comparison be found remarkably distinct. To this life and variety of Character, we must add the wonderful Preservation of it; which is such throughout his plays, that had all the Speeches been printed without the very names of the Persons, I believe one might have apply'd them with certainty to every speaker.

The Power over our Passions was never possess'd in a more eminent degree, or display'd in so different instances. Yet all along, there is seen no labour, no pains to raise them; no preparation to guide our guess to the effect, or be perceiv'd to lead toward it: But the heart swells, and the tears burst out, just at the proper places: We are surpriz'd, the moment we weep; and yet upon reflection find the passion so just, that we shou'd be surpriz'd if we had not wept, and wept at that very moment.

How astonishing is it again, that the passions directly opposite to these, Laughter and Spleen, are no less at his command! that he is not more a master of the Great, than [pg 049] of the Ridiculous in human nature; of our noblest tendernesses, than of our vainest foibles; of our strongest emotions, than of our idlest sensations!

Nor does he only excel in the Passions: In the coolness of Reflection and Reasoning he is full as admirable. His Sentiments are not only in general the most pertinent and judicious upon every subject; but by a talent very peculiar, something between Penetration and Felicity, he hits upon that particular point on which the bent of each argument turns, or the force of each motive depends. This is perfectly amazing, from a man of no education or experience in those great and publick scenes of life which are usually the subject of his thoughts: So that he seems to have known the world by Intuition, to have look'd thro' humane nature at one glance, and to be the only Author that gives ground for a very new opinion, That the Philosopher, and even the Man of the world, may be Born, as well as the Poet.

It must be own'd that with all these great excellencies he has almost as great defects; and that as he has certainly written better, so he has perhaps written worse, than any other. But I think I can in some measure account for these defects, from several causes and accidents; without which it is hard to imagine that so large and so enlighten'd a mind could ever have been susceptible of them. That all these Contingencies should unite to his disadvantage seems to me almost as singularly unlucky, as that so many various (nay contrary) Talents should meet in one man, was happy and extraordinary.

It must be allowed that Stage-Poetry of all other is more particularly levell'd to please the Populace, and its success more immediately depending upon the Common Suffrage. One cannot therefore wonder, if Shakespear, having at his first appearance no other aim in his writings than to procure a subsistance, directed his endeavours solely to hit the taste and humour that then prevailed. The Audience was generally composed of the meaner sort of people; and therefore the Images of Life were to be [pg 050] drawn from those of their own rank: accordingly we find that not our Author's only but almost all the old Comedies have their Scene among Tradesmen and Mechanicks: And even their Historical Plays strictly follow the common Old Stories or Vulgar Traditions of that kind of people. In Tragedy, nothing was so sure to Surprize and cause Admiration, as the most strange, unexpected, and consequently most unnatural, Events and Incidents; the most exaggerated Thoughts; the most verbose and bombast Expression; the most pompous Rhymes, and thundering Versification. In Comedy, nothing was so sure to please, as mean buffoonry, vile ribaldry, and unmannerly jests of fools and clowns. Yet even in these our Author's Wit buoys up, and is born above his subject: his Genius in those low parts is like some Prince of a Romance in the disguise of a Shepherd or Peasant; a certain Greatness and Spirit now and then break out, which manifest his higher extraction and qualities.

It may be added, that not only the common Audience had no notion of the rules of writing, but few even of the better sort piqu'd themselves upon any great degree of knowledge or nicety that way, till Ben Johnson getting possession of the Stage brought critical learning into vogue: And that this was not done without difficulty, may appear from those frequent lessons (and indeed almost Declamations) which he was forced to prefix to his first plays, and put into the mouth of his Actors, the Grex, Chorus, &c. to remove the prejudices, and inform the judgment of his hearers. Till then, our Authors had no thoughts of writing on the model of the Ancients: their Tragedies were only Histories in Dialogue; and their Comedies follow'd the thread of any Novel as they found it, no less implicitly than if it had been true History.

To judge therefore of Shakespear by Aristotle's rules, is like trying a man by the Laws of one Country, who acted under those of another. He writ to the People; and writ at first without patronage from the better sort, and therefore without aims of pleasing them: without assistance or [pg 051] advice from the Learned, as without the advantage of education or acquaintance among them: without that knowledge of the best models, the Ancients, to inspire him with an emulation of them; in a word, without any views of Reputation, and of what Poets are pleas'd to call Immortality: Some or all of which have encourag'd the vanity, or animated the ambition, of other writers.

Yet it must be observ'd, that when his performances had merited the protection of his Prince, and when the encouragement of the Court had succeeded to that of the Town, the works of his riper years are manifestly raised above those of his former. The Dates of his plays sufficiently evidence that his productions improved, in proportion to the respect he had for his auditors. And I make no doubt this observation will be found true in every instance, were but Editions extant from which we might learn the exact time when every piece was composed, and whether writ for the Town or the Court.

Another Cause (and no less strong than the former) may be deduced from our Author's being a Player, and forming himself first upon the judgments of that body of men whereof he was a member. They have ever had a Standard to themselves, upon other principles than those of Aristotle. As they live by the Majority, they know no rule but that of pleasing the present humour, and complying with the wit in fashion; a consideration which brings all their judgment to a short point. Players are just such judges of what is right, as Taylors are of what is graceful. And in this view it will be but fair to allow, that most of our Author's faults are less to be ascribed to his wrong judgment as a Poet, than to his right judgment as a Player.

By these men it was thought a praise to Shakespear, that he scarce ever blotted a line. This they industriously propagated, as appears from what we are told by Ben Johnson in his Discoveries, and from the preface of Heminges and Condell to the first folio Edition. But in reality (however it has prevailed) there never was a more [pg 052] groundless report, or to the contrary of which there are more undeniable evidences: As, the Comedy of the Merry Wives of Windsor, which he entirely new writ; the History of Henry the 6th, which was first published under the Title of the Contention of York and Lancaster; and that of Henry the 5th, extreamly improved; that of Hamlet enlarged to almost as much again as at first, and many others. I believe the common opinion of his want of Learning proceeded from no better ground. This too might be thought a Praise by some; and to this his Errors have as injudiciously been ascribed by others. For 'tis certain, were it true, it would concern but a small part of them; the most are such as are not properly Defects, but Superfoetations: and arise not from want of learning or reading, but from want of thinking or judging: or rather (to be more just to our Author) from a compliance to those wants in others. As to a wrong choice of the subject, a wrong conduct of the incidents, false thoughts, forc'd expressions, &c. if these are not to be ascrib'd to the foresaid accidental reasons, they must be charg'd upon the Poet himself, and there is no help for it. But I think the two Disadvantages which I have mentioned (to be obliged to please the lowest of the people, and to keep the worst of company), if the consideration be extended as far as it reasonably may, will appear sufficient to mis-lead and depress the greatest Genius upon earth. Nay the more modesty with which such a one is endued, the more he is in danger of submitting and conforming to others, against his own better judgment.

But as to his Want of Learning, it may be necessary to say something more: There is certainly a vast difference between Learning and Languages. How far he was ignorant of the latter, I cannot determine; but 'tis plain he had much Reading at least, if they will not call it Learning. Nor is it any great matter, if a man has Knowledge, whether he has it from one language or from another. Nothing is more evident than that he had a [pg 053] taste of natural Philosophy, Mechanicks, ancient and modern History, Poetical learning, and Mythology: We find him very knowing in the customs, rites, and manners of Antiquity. In Coriolanus and Julius CÆsar, not only the Spirit, but Manners, of the Romans are exactly drawn; and still a nicer distinction is shewn, between the manners of the Romans in the time of the former and of the latter. His reading in the ancient Historians is no less conspicuous, in many references to particular passages: and the speeches copy'd from Plutarch in Coriolanus may, I think, as well be made an instance of his learning, as those copy'd from Cicero in Catiline, of Ben Johnson's. The manners of other nations in general, the Egyptians, Venetians, French, &c., are drawn with equal propriety. Whatever object of nature, or branch of science, he either speaks of or describes, it is always with competent, if not extensive knowledge: his descriptions are still exact; all his metaphors appropriated, and remarkably drawn from the true nature and inherent qualities of each subject. When he treats of Ethic or Politic, we may constantly observe a wonderful justness of distinction, as well as extent of comprehension. No one is more a master of the Poetical story, or has more frequent allusions to the various parts of it: Mr. Waller (who has been celebrated for this last particular) has not shown more learning this way than Shakespear. We have Translations from Ovid published in his name, among those Poems which pass for his, and for some of which we have undoubted authority (being published by himself, and dedicated to his noble Patron the Earl of Southampton). He appears also to have been conversant in Plautus, from whom he has taken the plot of one of his plays: he follows the Greek Authors, and particularly Dares Phrygius, in another (altho' I will not pretend to say in what language he read them). The modern Italian writers of Novels he was manifestly acquainted with; and we may conclude him to be no less conversant with the Ancients of his own country, from the use he has made of Chaucer in Troilus and [pg 054] Cressida, and in the Two Noble Kinsmen, if that Play be his, as there goes a Tradition it was (and indeed it has little resemblance of Fletcher, and more of our Author than some of those which have been received as genuine).

I am inclined to think, this opinion proceeded originally from the zeal of the Partizans of our Author and Ben Johnson; as they endeavoured to exalt the one at the expence of the other. It is ever the nature of Parties to be in extremes; and nothing is so probable, as that because Ben Johnson had much the more learning, it was said on the one hand that Shakespear had none at all; and because Shakespear had much the most wit and fancy, it was retorted on the other, that Johnson wanted both. Because Shakespear borrowed nothing, it was said that Ben Johnson borrowed every thing. Because Johnson did not write extempore, he was reproached with being a year about every piece; and because Shakespear wrote with ease and rapidity, they cryed, he never once made a blot. Nay the spirit of opposition ran so high, that whatever those of the one side objected to the other, was taken at the rebound, and turned into Praises; as injudiciously as their antagonists before had made them Objections.

Poets are always afraid of Envy; but sure they have as much reason to be afraid of Admiration. They are the Scylla and Charybdis of Authors; those who escape one, often fall by the other. Pessimum genus inimicorum Laudantes, says Tacitus: and Virgil desires to wear a charm against those who praise a Poet without rule or reason.

——Si ultra placitum laudarit, baccare frontem
Cingito, ne Vati noceat——.

But however this contention might be carried on by the Partizans on either side, I cannot help thinking these two great Poets were good friends, and lived on amicable terms and in offices of society with each other. It is an acknowledged fact, that Ben Johnson was introduced upon the Stage, and his first works encouraged, by Shakespear. And after his death, that Author writes To the memory of [pg 055] his beloved Mr. William Shakespear, which shows as if the friendship had continued thro' life. I cannot for my own part find any thing Invidious or Sparing in those verses, but wonder Mr. Dryden was of that opinion. He exalts him not only above all his Contemporaries, but above Chaucer and Spenser, whom he will not allow to be great enough to be rank'd with him; and challenges the names of Sophocles, Euripides, and Æschylus, nay all Greece and Rome at once, to equal him: And (which is very particular) expressly vindicates him from the imputation of wanting Art, not enduring that all his excellencies shou'd be attributed to Nature. It is remarkable too, that the praise he gives him in his Discoveries seems to proceed from a personal kindness; he tells us that he lov'd the man, as well as honoured his memory; celebrates the honesty, openness, and frankness of his temper; and only distinguishes, as he reasonably ought, between the real merit of the Author, and the silly and derogatory applauses of the Players. Ben Johnson might indeed be sparing in his Commendations (tho' certainly he is not so in this instance) partly from his own nature, and partly from judgment. For men of judgment think they do any man more service in praising him justly, than lavishly. I say, I would fain believe they were Friends, tho' the violence and ill-breeding of their Followers and Flatterers were enough to give rise to the contrary report. I would hope that it may be with Parties, both in Wit and State, as with those Monsters described by the Poets; and that their Heads at least may have something humane, tho' their Bodies and Tails are wild beasts and serpents.

As I believe that what I have mentioned gave rise to the opinion of Shakespear's want of learning; so what has continued it down to us may have been the many blunders and illiteracies of the first Publishers of his works. In these Editions their ignorance shines almost in every page; nothing is more common than Actus tertia, Exit Omnes, Enter three Witches solus. Their French is as bad as their Latin, both in construction and spelling: Their very [pg 056] Welsh is false. Nothing is more likely than that those palpable blunders of Hector's quoting Aristotle, with others of that gross kind, sprung from the same root: It not being at all credible that these could be the errors of any man who had the least tincture of a School, or the least conversation with such as had. Ben Johnson (whom they will not think partial to him) allows him at least to have had some Latin; which is utterly inconsistent with mistakes like these. Nay the constant blunders in proper names of persons and places, are such as must have proceeded from a man who had not so much as read any history, in any language: so could not be Shakespear's.

I shall now lay before the reader some of those almost innumerable Errors which have risen from one source, the ignorance of the Players, both as his actors, and as his editors. When the nature and kinds of these are enumerated and considered, I dare to say that not Shakespear only, but Aristotle or Cicero, had their works undergone the same fate, might have appear'd to want sense as well as learning.

It is not certain that any one of his Plays was published by himself. During the time of his employment in the Theatre, several of his pieces were printed separately in Quarto. What makes me think that most of these were not publish'd by him, is the excessive carelessness of the press: every page is so scandalously false spelled, and almost all the learned and unusual words so intolerably mangled, that it's plain there either was no Correcter to the press at all, or one totally illiterate. If any were supervised by himself, I should fancy the two parts of Henry the 4th and Midsummer-Night's Dream might have been so: because I find no other printed with any exactness; and (contrary to the rest) there is very little variation in all the subsequent editions of them. There are extant two Prefaces, to the first quarto edition of Troilus and Cressida in 1609, and to that of Othello; by which it appears, that the first was publish'd without his knowledge or consent, and even before it was acted, so late as seven or eight years [pg 057] before he died: and that the latter was not printed till after his death. The whole number of genuine plays which we have been able to find printed in his life-time, amounts but to eleven. And of some of these, we meet with two or more editions by different printers, each of which has whole heaps of trash different from the other: which I should fancy was occasion'd by their being taken from different copies, belonging to different Playhouses.

The folio edition (in which all the plays we now receive as his were first collected) was published by two Players, Heming and Condell, in 1623, seven years after his decease. They declare that all the other editions were stolen and surreptitious, and affirm theirs to be purged from the errors of the former. This is true as to the literal errors, and no other; for in all respects else it is far worse than the Quarto's:

First, because the additions of trifling and bombast passages are in this edition far more numerous. For whatever had been added, since those Quarto's, by the actors, or had stolen from their mouths into the written parts, were from thence conveyed into the printed text, and all stand charged upon the Author. He himself complained of this usage in Hamlet, where he wishes that those who play the Clowns wou'd speak no more than is set down for them (Act 3. Sc. 4.). But as a proof that he could not escape it, in the old editions of Romeo and Juliet there is no hint of a great number of the mean conceits and ribaldries now to be found there. In others, the low scenes of Mobs, Plebeians, and Clowns, are vastly shorter than at present: And I have seen one in particular (which seems to have belonged to the Playhouse, by having the parts divided with lines, and the Actors names in the margin) where several of those very passages were added in a written hand, which are since to be found in the folio.

In the next place, a number of beautiful passages which are extant in the first single editions, are omitted in this: as it seems, without any other reason than their willingness to shorten some scenes: These men (as it was said of [pg 058] Procrustes) either lopping or stretching an Author, to make him just fit for their Stage.

This edition is said to be printed from the Original Copies; I believe they meant those which had lain ever since the Author's days in the playhouse, and had from time to time been cut, or added to, arbitrarily. It appears that this edition, as well as the Quarto's, was printed (at least partly) from no better copies than the Prompter's Book or Piece-meal Parts written out for the use of the actors: For in some places their very38 names are thro' carelessness set down instead of the PersonÆ Dramatis: And in others the notes of direction to the Property-men for their Moveables, and to the Players for their Entries,39 are inserted into the Text, thro' the ignorance of the Transcribers.

The Plays not having been before so much as distinguish'd by Acts and Scenes, they are in this edition divided according as they play'd them; often when there is no pause in the action, or where they thought fit to make a breach in it, for the sake of Musick, Masques, or Monsters.

Sometimes the scenes are transposed and shuffled backward and forward; a thing which could no otherwise happen, but by their being taken from separate and piece-meal-written parts.

Many verses are omitted intirely, and others transposed; from whence invincible obscurities have arisen, past the guess of any Commentator to clear up, but just where the accidental glympse of an old edition enlightens us.

Some Characters were confounded and mix'd, or two put into one, for want of a competent number of actors. Thus in the Quarto edition of Midsummer-Night's Dream, Act 5, Shakespear introduces a kind of Master of the [pg 059] Revels called Philostratus: all whose part is given to another character (that of Ægeus) in the subsequent editions: So also in Hamlet and King Lear. This too makes it probable that the Prompter's Books were what they call'd the Original Copies.

From liberties of this kind, many speeches also were put into the mouths of wrong persons, where the Author now seems chargeable with making them speak out of character: Or sometimes perhaps for no better reason than that a governing Player, to have the mouthing of some favourite speech himself, would snatch it from the unworthy lips of an Underling.

Prose from verse they did not know, and they accordingly printed one for the other throughout the volume.

Having been forced to say so much of the Players, I think I ought in justice to remark, that the Judgment, as well as Condition, of that class of people was then far inferior to what it is in our days. As then the best Playhouses were Inns and Taverns (the Globe, the Hope, the Red Bull, the Fortune, &c.), so the top of the profession were then meer Players, not Gentlemen of the stage: They were led into the Buttery by the Steward, not plac'd at the Lord's table, or Lady's toilette: and consequently were intirely depriv'd of those advantages they now enjoy, in the familiar conversation of our Nobility, and an intimacy (not to say dearness) with people of the first condition.

From what has been said, there can be no question but had Shakespear published his works himself (especially in his latter time, and after his retreat from the stage) we should not only be certain which are genuine; but should find in those that are, the errors lessened by some thousands. If I may judge from all the distinguishing marks of his style, and his manner of thinking and writing, I make no doubt to declare that those wretched plays, Pericles, Locrine, Sir John Oldcastle, Yorkshire Tragedy, Lord Cromwell, The Puritan, and London Prodigal, cannot be admitted as his. And I should conjecture of some of the [pg 060] others (particularly Love's Labour's Lost, The Winter's Tale, and Titus Andronicus), that only some characters, single scenes, or perhaps a few particular passages, were of his hand. It is very probable what occasion'd some Plays to be supposed Shakespear's was only this; that they were pieces produced by unknown authors, or fitted up for the Theatre while it was under his administration: and no owner claiming them, they were adjudged to him, as they give Strays to the Lord of the Manor: A mistake which (one may also observe) it was not for the interest of the House to remove. Yet the Players themselves, Hemings and Condell, afterwards did Shakespear the justice to reject those eight plays in their edition; tho' they were then printed in his name, in every body's hands, and acted with some applause (as we learn from what Ben Johnson says of Pericles in his Ode on the New Inn). That Titus Andronicus is one of this class I am the rather induced to believe, by finding the same Author openly express his contempt of it in the Induction to Bartholomew-Fair, in the year 1614, when Shakespear was yet living. And there is no better authority for these latter sort, than for the former, which were equally published in his lifetime.

If we give into this opinion, how many low and vicious parts and passages might no longer reflect upon this great Genius, but appear unworthily charged upon him? And even in those which are really his, how many faults may have been unjustly laid to his account from arbitrary Additions, Expunctions, Transpositions of scenes and lines, confusion of Characters and Persons, wrong application of Speeches, corruptions of innumerable Passages by the Ignorance, and wrong Corrections of 'em again by the Impertinence, of his first Editors? From one or other of these considerations, I am verily perswaded, that the greatest and the grossest part of what are thought his errors would vanish, and leave his character in a light very different from that disadvantageous one, in which it now appears to us.

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This is the state in which Shakespear's, writings lye at present; for since the above-mentioned Folio Edition, all the rest have implicitly followed it, without having recourse to any of the former, or ever making the comparison between them. It is impossible to repair the Injuries already done him; too much time has elaps'd, and the materials are too few. In what I have done I have rather given a proof of my willingness and desire, than of my ability, to do him justice. I have discharg'd the dull duty of an Editor to my best judgment, with more labour than I expect thanks, with a religious abhorrence of all Innovation, and without any indulgence to my private sense or conjecture. The method taken in this Edition will show it self. The various Readings are fairly put in the margin, so that every one may compare 'em; and those I have prefer'd into the Text are constantly ex fide Codicum, upon authority. The Alterations or Additions which Shakespear himself made, are taken notice of as they occur. Some suspected passages which are excessively bad (and which seem Interpolations by being so inserted that one can intirely omit them without any chasm or deficience in the context) are degraded to the bottom of the page; with an Asterisk referring to the places of their insertion. The Scenes are mark'd so distinctly that every removal of place is specify'd; which is more necessary in this Author than any other, since he shifts them more frequently: and sometimes, without attending to this particular, the reader would have met with obscurities. The more obsolete or unusual words are explained. Some of the most shining passages are distinguish'd by comma's in the margin; and where the beauty lay not in particulars but in the whole, a star is prefix'd to the scene. This seems to me a shorter and less ostentatious method of performing the better half of Criticism (namely the pointing out an Author's excellencies) than to fill a whole paper with citations of fine passages, with general Applauses, or empty Exclamations at the tail of them. There is also subjoin'd a Catalogue of those first Editions by which the greater part of the [pg 062] various readings and of the corrected passages are authorised (most of which are such as carry their own evidence along with them). These Editions now hold the place of Originals, and are the only materials left to repair the deficiences or restore the corrupted sense of the Author: I can only wish that a greater number of them (if a greater were ever published) may yet be found, by a search more successful than mine, for the better accomplishment of this end.

I will conclude by saying of Shakespear, that with all his faults, and with all the irregularity of his Drama, one may look upon his works, in comparison of those that are more finish'd and regular, as upon an ancient majestick piece of Gothick Architecture, compar'd with a neat Modern building: The latter is more elegant and glaring, but the former is more strong and more solemn. It must be allow'd that in one of these there are materials enough to make many of the other. It has much the greater variety, and much the nobler apartments; tho' we are often conducted to them by dark, odd, and uncouth passages. Nor does the Whole fail to strike us with greater reverence, tho' many of the Parts are childish, ill-plac'd, and unequal to its grandeur.

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The Attempt to write upon Shakespeare is like going into a large, a spacious, and a splendid Dome thro' the Conveyance of a narrow and obscure Entry. A Glare of Light suddenly breaks upon you beyond what the Avenue at first promis'd: and a thousand Beauties of Genius and Character, like so many gaudy Apartments pouring at once upon the Eye, diffuse and throw themselves out to the Mind. The Prospect is too wide to come within the Compass of a single View: 'tis a gay Confusion of pleasing Objects, too various to be enjoyed but in a general Admiration; and they must be separated, and ey'd distinctly, in order to give the proper Entertainment.

And as in great Piles of Building, some Parts are often finish'd up to hit the Taste of the Connoisseur; others more negligently put together, to strike the Fancy of a common and unlearned Beholder: Some Parts are made stupendously magnificent and grand, to surprize with the vast Design and Execution of the Architect; others are contracted, to amuse you with his Neatness and Elegance in little. So, in Shakespeare, we may find Traits that will stand the Test of the severest Judgment; and Strokes as carelessly hit off, to the Level of the more ordinary Capacities: Some Descriptions rais'd to that Pitch of [pg 064] Grandeur, as to astonish you with the Compass and Elevation of his Thought; and others copying Nature within so narrow, so confined a Circle, as if the Author's Talent lay only at drawing in Miniature.

In how many points of Light must we be obliged to gaze at this great Poet! In how many Branches of Excellence to consider and admire him! Whether we view him on the Side of Art or Nature, he ought equally to engage our Attention: Whether we respect the Force and Greatness of his Genius, the Extent of his Knowledge and Reading, the Power and Address with which he throws out and applies either Nature or Learning, there is ample scope both for our Wonder and Pleasure. If his Diction and the cloathing of his Thoughts attract us, how much more must we be charm'd with the Richness and Variety of his Images and Ideas! If his Images and Ideas steal into our Souls, and strike upon our Fancy, how much are they improv'd in Price, when we come to reflect with what Propriety and Justness they are apply'd to Character! If we look into his Characters, and how they are furnish'd and proportion'd to the Employment he cuts out for them, how are we taken up with the Mastery of his Portraits! What Draughts of Nature! What Variety of Originals, and how differing each from the other! How are they dress'd from the Stores of his own luxurious Imagination; without being the Apes of Mode, or borrowing from any foreign Wardrobe! Each of them are the standards of Fashion for themselves: like Gentlemen that are above the Direction of their Tailors, and can adorn themselves without the aid of Imitation. If other Poets draw more than one Fool or Coxcomb, there is the same Resemblance in them as in that Painter's Draughts, who was happy only at forming a Rose: you find them all younger Brothers of the same Family, and all of them have a Pretence to give the same Crest: But Shakespeare's Clowns and Fops come all of a different House; they are no farther allied to one another than as Man to Man, Members of the same Species: but as different in Features and [pg 065] Lineaments of Character, as we are from one another in Face or Complexion. But I am unawares lanching into his Character as a Writer, before I have said what I intended of him as a private Member of the Republick.

Mr. Rowe has very justly observ'd, that People are fond of discovering any little personal Story of the Great Men of Antiquity; and that the common Accidents of their Lives naturally become the Subject of our critical Enquiries: That however trifling such a Curiosity at the first View may appear, yet, as for what relates to Men of Letters, the Knowledge of an Author may, perhaps, sometimes conduce to the better understanding his Works: And, indeed, this Author's Works, from the bad Treatment he has met with from Copyists and Editors, have so long wanted a Comment, that one would zealously embrace every Method of Information that could contribute to recover them from the injuries with which they have so long lain o'erwhelm'd.

'Tis certain that if we have first admir'd the Man in his Writings, his Case is so circumstanc'd that we must naturally admire the Writings in the Man: That if we go back to take a View of his Education, and the Employment in Life which Fortune had cut out for him, we shall retain the stronger Ideas of his extensive Genius.

His Father, we are told, was a considerable Dealer in Wool; but having no fewer than ten Children, of whom our Shakespeare was the eldest, the best education he could afford him was no better than to qualify him for his own Business and Employment. I cannot affirm with any Certainty how long his Father liv'd; but I take him to be the same Mr. John Shakespeare who was living in the Year 1599, and who then, in Honour of his Son, took out an Extract of his Family Arms from the Herald's Office; by which it appears, that he had been Officer and Bailiff of Stratford upon [pg 066] Avon in Warwickshire; and that he enjoy'd some hereditary Lands and Tenements, the Reward of his Great Grandfather's faithful and approved Service to King Henry VII.

Be this as it will, our Shakespeare, it seems, was bred for some Time at a Free-School; the very Free-School, I presume, founded at Stratford: where, we are told, he acquired what Latin he was master of: but that his Father being oblig'd, thro' Narrowness of Circumstance, to withdraw him too soon from thence, he was thereby unhappily prevented from making any Proficiency in the Dead Languages: A Point that will deserve some little Discussion in the Sequel of this Dissertation.

How long he continued in his Father's Way of Business, either as an Assistant to him, or on his own proper Account, no Notices are left to inform us: nor have I been able to learn precisely at what Period of Life he quitted his native Stratford, and began his Acquaintance with London and the Stage.

In order to settle in the World after a Family-manner, he thought fit, Mr. Rowe acquaints us, to marry while he was yet very young. It is certain he did so: for by the Monument in Stratford Church, erected to the Memory of his Daughter Susanna, the Wife of John Hall, Gentleman, it appears that she died on the 2d Day of July, in the Year 1649, aged 66. So that she was born in 1583, when her Father could not be full 19 Years old; who was himself born in the Year 1564. Nor was she his eldest Child, for he had another Daughter, Judith, who was born before her, and who was married to one Mr. Thomas Quiney. So that Shakespeare must have entred into Wedlock by that Time he was turn'd of seventeen Years.

Whether the Force of Inclination merely, or some concurring Circumstances of Convenience in the Match, prompted him to marry so early, is not easy to be determin'd at this Distance: but 'tis probable, a View [pg 067] of Interest might partly sway his Conduct on this Point: for he married the Daughter of one Hathaway, a substantial Yeoman in his Neighbourhood, and she had the Start of him in Age no less than eight Years. She surviv'd him, notwithstanding, seven Seasons, and dy'd that very Year in which the Players publish'd the first Edition of his Works in Folio, Anno Dom. 1623, at the Age of 67 Years, as we likewise learn from her Monument in Stratford Church.

How long he continued in this kind of Settlement, upon his own Native Spot, is not more easily to be determin'd. But if the Tradition be true of that Extravagance which forc'd him both to quit his Country and Way of Living; to wit, his being engag'd, with a Knot of young Deer-stealers, to rob the Park of Sir Thomas Lucy of Cherlecot near Stratford: the Enterprize favours so much of Youth and Levity, we may reasonably suppose it was before he could write full Man. Besides, considering he has left us six and thirty Plays, at least, avow'd to be genuine; and considering too, that he had retir'd from the Stage, to spend the latter Part of his Days at his own Native Stratford; the Interval of Time, necessarily required for the finishing so many Dramatic Pieces, obliges us to suppose he threw himself very early upon the Playhouse. And as he could, probably, contract no Acquaintance with the Drama, while he was driving on the Affair of Wool at home; some Time must be lost, even after he had commenc'd Player, before he could attain Knowledge enough in the Science to qualify himself for turning Author.

It has been observ'd by Mr. Rowe, that amongst other Extravagancies which our Author has given to his Sir John Falstaffe, in the Merry Wives of Windsor, he has made him a Deer-stealer; and that he might at the same Time remember his Warwickshire Prosecutor, under the Name of Justice Shallow, he has given him very near the same Coat of Arms, which Dugdale, in his Antiquities of that County, describes for a Family there. There are two [pg 068] Coats, I observe, in Dugdale, where three Silver Fishes are borne in the Name of Lucy; and another Coat, to the Monument of Thomas Lucy, Son of Sir William Lucy, in which are quarter'd in four several Divisions twelve little Fishes, three in each Division, probably Luces. This very Coat, indeed, seems alluded to in Shallow's giving the dozen White Luces, and in Slender saying he may quarter. When I consider the exceeding Candour and Good-nature of our Author (which inclin'd all the gentler Part of the World to love him; as the Power of his Wit obliged the Men of the most delicate Knowledge and polite Learning to admire him); and that he should throw this humorous Piece of Satire at his Prosecutor, at least twenty Years after the Provocation given; I am confidently persuaded it must be owing to an unforgiving Rancour on the Prosecutor's Side: and if This was the Case, it were Pity but the Disgrace of such an Inveteracy should remain as a lasting Reproach, and Shallow stand as a Mark of Ridicule to stigmatize his Malice.

It is said, our Author spent some Years before his Death, in Ease, Retirement, and the Conversation of his Friends, at his Native Stratford. I could never pick up any certain Intelligence, when he relinquish'd the Stage. I know, it has been mistakenly thought by some, that Spenser's Thalia, in his Tears of the Muses, where she laments the Loss of her Willy in the Comic Scene, has been apply'd to our Author's quitting the Stage. But Spenser himself, 'tis well known, quitted the Stage of Life in the Year 1598; and, five Years after this, we find Shakespeare's Name among the Actors in Ben Jonson's Sejanus, which first made its Appearance in the Year 1603. Nor, surely, could he then have any Thoughts of retiring, since, that very Year, a Licence under the Privy-Seal was granted by K. James I. to him and Fletcher, Burbage, Phillippes, Hemings, Condel, &c. authorizing them to exercise the Art of playing Comedies, Tragedies, &c. as well at their usual House call'd the Globe on the other Side of the Water, as in any other Parts of the Kingdom, during [pg 069] his Majesty's Pleasure (A Copy of which Licence is preserv'd in Rymer's Foedera). Again, 'tis certain that Shakespeare did not exhibit his Macbeth till after the Union was brought about, and till after King James I. had begun to touch for the Evil: for 'tis plain, he has inserted Compliments, on both those Accounts, upon his Royal Master in that Tragedy. Nor, indeed, could the Number of the Dramatic Pieces he produced admit of his retiring near so early as that Period. So that what Spenser there says, if it relate at all to Shakespeare, must hint at some occasional Recess he made for a time upon a Disgust taken: or the Willy, there mention'd, must relate to some other favourite Poet. I believe, we may safely determine that he had not quitted in the Year 1610. For in his Tempest, our Author makes mention of the Bermuda Islands, which were unknown to the English, till, in 1609, Sir John Summers made a Voyage to North-America, and discover'd them: and afterwards invited some of his Countrymen to settle a Plantation there. That he became the private Gentleman, at least three Years before his Decease, is pretty obvious from another Circumstance: I mean, from that remarkable and well-known Story, which Mr. Rowe has given us of our Author's Intimacy with Mr. John Combe, an old Gentleman noted thereabouts for his Wealth and Usury: and upon whom Shakespeare made the following facetious Epitaph:

Ten in the hundred lies here ingrav'd,
'Tis a hundred to ten his Soul is not sav'd;
If any Man ask who lies in this Tomb,
Oh! oh! quoth the Devil, 'tis my John-a-Combe.

This sarcastical Piece of Wit was, at the Gentleman's own Request, thrown out extemporally in his Company. And this Mr. John Combe I take to be the same, who, by Dugdale in his Antiquities of Warwickshire, is said to have dy'd in the Year 1614, and for whom, at the upper end of the Quire of the Guild of the Holy Cross at Stratford, a fair Monument is erected, having a Statue thereon cut in Alabaster, and in a Gown, with this Epitaph. “Here [pg 070] lyeth interr'd the Body of John Combe, Esq; who dy'd the 10th of July, 1614, who bequeathed several Annual Charities to the Parish of Stratford, and 100l. to be lent to fifteen poor Tradesmen from three years to three years, changing the Parties every third Year, at the Rate of fifty Shillings per Annum, the Increase to be distributed to the Almes-poor there.”—The Donation has all the Air of a rich and sagacious Usurer.

Shakespeare himself did not survive Mr. Combe long, for he dy'd in the Year 1616, the 53d of his Age. He lies buried on the North Side of the Chancel in the great Church at Stratford; where a Monument, decent enough for the Time, is erected to him, and plac'd against the Wall. He is represented under an Arch in a sitting posture, a Cushion spread before him, with a Pen in his Right Hand, and his Left rested on a Scrowl of Paper. The Latin Distich, which is placed under the Cushion, has been given us by Mr. Pope, or his Graver, in this Manner.

INGENIO Pylium, Genio Socratem, Arte Maronem,
Terra tegit, Populus moeret, Olympus habet.

I confess, I don't conceive the Difference betwixt Ingenio and Genio in the first Verse. They seem to me intirely synonymous Terms; nor was the Pylian sage Nestor celebrated for his Ingenuity, but for an Experience and Judgment owing to his long Age. Dugdale, in his Antiquities of Warwickshire, has copied this Distich with a Distinction which Mr. Rowe has follow'd, and which certainly restores us the true Meaning of this Epitaph.

JUDICIO Pylium, Genio Socratem, &c.

In 1614, the greater Part of the Town of Stratford was consumed by Fire; but our Shakespeare's House, among some others, escap'd the Flames. This House was first built by Sir Hugh Clopton, a younger Brother of an ancient Family in that Neighbourhood, who took their Name from the Manor of Clopton. Sir Hugh was Sheriff [pg 071] of London in the Reign of Richard III. and Lord Mayor in the Reign of King Henry VII. To this Gentleman the Town of Stratford is indebted for the fine Stonebridge, consisting of fourteen Arches, which at an extraordinary Expence he built over the Avon, together with a Cause-way running at the West-end thereof; as also for rebuilding the Chapel adjoining to his House, and the Cross-Isle in the Church there. It is remarkable of him, that, tho' he liv'd and dy'd a Bachelor, among the other extensive Charities which he left both to the City of London and Town of Stratford, he bequeath'd considerable Legacies for the Marriage of poor Maidens of good Name and Fame both in London and at Stratford. Notwithstanding which large Donations in his Life, and Bequests at his Death, as he had purchased the Manor of Clopton, and all the Estate of the Family, so he left the same again to his elder Brother's Son with a very great Addition (a Proof how well Beneficence and Œconomy may walk hand in hand in wise Families): Good Part of which Estate is yet in the Possession of Edward Clopton, Esq. and Sir Hugh Clopton, Knt. lineally descended from the elder Brother of the first Sir Hugh: Who particularly bequeathed to his Nephew, by his Will, his House, by the Name of his Great-House in Stratford.

The Estate had now been sold out of the Clopton Family for above a Century, at the time when Shakespeare became the Purchaser: who, having repair'd and modell'd it to his own Mind, chang'd the Name to New-place; which the Mansion-house, since erected upon the same Spot, at this day retains. The House and Lands, which attended it, continued in Shakespeare's Descendants to the Time of the Restoration: when they were repurchased by the Clopton Family, and the Mansion now belongs to Sir Hugh Clopton, Knt. To the Favour of this worthy Gentleman I owe the Knowledge of one Particular, in Honour of our Poet's once Dwelling-house, of which, I presume, Mr. Rowe never was appriz'd. When the [pg 072] Civil War raged in England, and K. Charles the First's Queen was driven by the Necessity of Affairs to make a Recess in Warwickshire, she kept her Court for three Weeks in New-place. We may reasonably suppose it then the best private House in the Town; and her Majesty preferr'd it to the College, which was in the Possession of the Combe Family, who did not so strongly favour the King's Party.

How much our Author employ'd himself in Poetry, after his Retirement from the Stage, does not so evidently appear: Very few posthumous Sketches of his Pen have been recover'd to ascertain that Point. We have been told, indeed, in Print, but not till very lately, That two large Chests full of this Great Man's loose Papers and Manuscripts, in the Hands of an ignorant Baker of Warwick (who married one of the Descendants from our Shakespeare), were carelessly scatter'd and thrown about, as Garret-Lumber and Litter, to the particular Knowledge of the late Sir William Bishop, till they were all consumed in the general Fire and Destruction of that Town. I cannot help being a little apt to distrust the Authority of this Tradition; because as his Wife survived him seven Years, and as his Favourite Daughter Susanna surviv'd her twenty-six Years, 'tis very improbable they should suffer such a Treasure to be remov'd, and translated into a remoter Branch of the Family, without a Scrutiny first made into the Value of it. This, I say, inclines me to distrust the Authority of the Relation: but, notwithstanding such an apparent Improbability, if we really lost such a Treasure, by whatever Fatality or Caprice of Fortune they came into such ignorant and neglectful Hands, I agree with the Relater, the Misfortune is wholly irreparable.

To these Particulars, which regard his Person and private Life, some few more are to be glean'd from Mr. Rowe's Account of his Life and Writings: Let us now take a short View of him in his publick Capacity, as a Writer: and, from thence, the Transition will be easy to [pg 073] the State in which his Writings have been handed down to us.

No Age, perhaps, can produce an Author more various from himself than Shakespeare has been universally acknowledged to be. The Diversity in Stile, and other Parts of Composition, so obvious in him, is as variously to be accounted for. His Education, we find, was at best but begun: and he started early into a Science from the Force of Genius, unequally assisted by acquir'd Improvements. His Fire, Spirit, and Exuberance of Imagination gave an impetuosity to his Pen: His Ideas flow'd from him in a Stream rapid, but not turbulent; copious, but not ever over-bearing its Shores. The Ease and Sweetness of his Temper might not a little contribute to his Facility in Writing: as his Employment, as a Player, gave him an Advantage and Habit of fancying himself the very Character he meant to delineate. He used the Helps of his Function in forming himself to create and express that Sublime which other Actors can only copy, and throw out, in Action and graceful Attitude. But Nullum sine Venia placuit Ingenium, says Seneca. The Genius that gives us the greatest Pleasure, sometimes stands in Need of our Indulgence. Whenever this happens with regard to Shakespeare I would willingly impute it to a Vice of his Times. We see Complaisance enough, in our Days, paid to a bad Taste. So that his Clinches, false Wit, and descending beneath himself, may have proceeded from a Deference paid to the then reigning Barbarism.

I have not thought it out of my Province, whenever Occasion offer'd, to take notice of some of our Poet's grand Touches of Nature: Some that do not appear superficially such; but in which he seems the most deeply instructed; and to which, no doubt, he has so much ow'd that happy Preservation of his Characters, for which he is justly celebrated. Great Genius's, like his, naturally unambitious, are satisfy'd to conceal their Art in these Points. 'Tis the Foible of your worser Poets to make a [pg 074] Parade and Ostentation of that little Science they have; and to throw it out in the most ambitious Colours. And whenever a Writer of this Class shall attempt to copy these artful Concealments of our Author, and shall either think them easy, or practised by a Writer for his Ease, he will soon be convinced of his Mistake by the Difficulty of reaching the Imitation of them.

Speret idem, sudet multum, frustraque laboret,
Ausus idem:——

Indeed, to point out, and exclaim upon, all the Beauties of Shakespeare, as they come singly in Review, would be as insipid, as endless; as tedious, as unnecessary: But the Explanation of those Beauties that are less obvious to common Readers, and whose Illustration depends on the Rules of just Criticism, and an exact knowledge of human Life, should deservedly have a Share in a general Critic upon the Author. But, to pass over at once to another Subject:——

It has been allow'd on all hands, how far our Author was indebted to Nature; it is not so well agreed, how much he ow'd to Languages and acquired Learning. The Decisions on this Subject were certainly set on Foot by the Hint from Ben Jonson, that he had small Latin and less Greek: And from this Tradition, as it were, Mr. Rowe has thought fit peremptorily to declare, that, “It is without Controversy, he had no Knowledge of the Writings of the ancient Poets, for that in his Works we find no Traces of any thing which looks like an imitation of the Ancients. For the Delicacy of his Taste (continues He) and the natural Bent of his own great Genius (equal, if not superior, to some of the Best of theirs), would certainly have led him to read and study them with so much Pleasure, that some of their fine Images would naturally have insinuated themselves into, and been mix'd with his own Writings: and so his not copying at least something from them, may be an Argument of his never having read them.” I shall leave it to the [pg 075] Determination of my Learned Readers, from the numerous Passages, which I have occasionally quoted in my Notes, in which our Poet seems closely to have imitated the Classics, whether Mr. Rowe's Assertion be so absolutely to be depended on. The Result of the Controversy must certainly, either way, terminate to our Author's Honour: how happily he could imitate them, if that Point be allowed; or how gloriously he could think like them, without owing any thing to Imitation.

Tho' I should be very unwilling to allow Shakespeare so poor a Scholar as Many have labour'd to represent him, yet I shall be very cautious of declaring too positively on the other side of the Question: that is, with regard to my Opinion of his Knowledge in the dead languages. And therefore the Passages, that I occasionally quote from the Classics, shall not be urged as Proofs that he knowingly imitated those Originals; but brought to shew how happily he has express'd himself upon the same Topicks. A very learned Critick of our own Nation has declar'd, that a Sameness of Thought and Sameness of Expression too, in Two Writers of a different Age, can hardly happen, without a violent Suspicion of the latter copying from his Predecessor. I shall not therefore run any great Risque of a Censure, tho' I should venture to hint, that the Resemblances in Thought and Expression of our Author and an Ancient (which we should allow to be Imitation in the One whose learning was not question'd) may sometimes take its Rise from Strength of Memory, and those Impressions which he owed to the School. And if we may allow a Possibility of This, considering that, when he quitted the School he gave into his Father's Profession and way of Living, and had, 'tis likely, but a slender Library of Classical Learning; and considering what a Number of Translations, Romances, and Legends, started about his Time, and a little before (most of which, 'tis very evident, he read); I think, it may easily be reconciled why he rather schemed his Plots and Characters from [pg 076] these more latter Informations, than went back to those Fountains, for which he might entertain a sincere Veneration, but to which he could not have so ready a Recourse.

In touching on another Part of his Learning, as it related to the Knowledge of History and Books, I shall advance something that, at first sight, will very much wear the Appearance of a Paradox. For I shall find it no hard Matter to prove, that, from the grossest Blunders in History, we are not to infer his real Ignorance of it: Nor from a greater Use of Latin Words, than ever any other English Author used, must we infer his intimate Acquaintance with that Language.

A Reader of Taste may easily observe, that tho' Shakespeare, almost in every Scene of his historical Plays, commits the grossest Offences against Chronology, History, and Ancient Politicks; yet This was not thro' Ignorance, as is generally supposed, but thro' the too powerful Blaze of his Imagination; which, when once raised, made all acquired Knowledge vanish and disappear before it. But this Licence in him, as I have said, must not be imputed to Ignorance: since as often we may find him, when Occasion serves, reasoning up to the Truth of History; and throwing out Sentiments as justly adapted to the Circumstances of his Subject, as to the Dignity of his Characters, or Dictates of Nature in general.

Then to come to his Knowledge of the Latin Tongue, 'tis certain there is a surprising Effusion of Latin Words made English, far more than in any one English Author I have seen; but we must be cautious to imagine this was of his own doing. For the English Tongue, in this Age, began extremely to suffer by an inundation of Latin: And this, to be sure, was occasion'd by the Pedantry of those two Monarchs, Elizabeth and James, Both great Latinists. For it is not to be wonder'd at, if both the Court and Schools, equal Flatterers of Power, should adapt themselves to the Royal Taste.

But now I am touching on the Question (which has been so frequently agitated, yet so entirely undecided) of [pg 077] his Learning and Acquaintance with the Languages; an additional Word or two naturally falls in here upon the Genius of our Author, as compared with that of Jonson his Contemporary. They are confessedly the greatest Writers our Nation could ever boast of in the Drama. The first, we say, owed all to his prodigious natural Genius; and the other a great deal to his Art and Learning. This, if attended to, will explain a very remarkable Appearance in their Writings. Besides those wonderful Masterpieces of Art and Genius, which each has given us, They are the Authors of other Works very unworthy of them: But with this Difference, that in Jonson's bad Pieces we don't discover one single Trace of the Author of the Fox and Alchemist: but in the wild extravagant Notes of Shakespeare, you every now and then encounter Strains that recognize the divine Composer. This Difference may be thus accounted for. Jonson, as we said before, owing all his Excellence to his Art, by which he sometimes strain'd himself to an uncommon Pitch, when at other times he unbent and play'd with his Subject, having nothing then to support him, it is no wonder he wrote so far beneath himself. But Shakespeare, indebted more largely to Nature than the Other to acquired Talents, in his most negligent Hours could never so totally divest himself of his Genius, but that it would frequently break out with astonishing Force and Splendor.

As I have never propos'd to dilate farther on the Character of my Author than was necessary to explain the Nature and Use of this Edition, I shall proceed to consider him as a Genius in Possession of an everlasting Name. And how great that Merit must be, which could gain it against all the Disadvantages of the horrid Condition in which he had hitherto appear'd! Had Homer, or any other admir'd Author, first started into Publick so maim'd and deform'd, we cannot determine whether they had not sunk for ever under the Ignominy of such an ill Appearance. The mangled Condition of Shakespeare has been acknowledg'd by Mr. Rowe, who published him [pg 078] indeed, but neither corrected his Text, nor collated the old Copies. This Gentleman had Abilities, and a sufficient Knowledge of his Author, had but his Industry been equal to his Talents. The same mangled Condition has been acknowledg'd too by Mr. Pope, who publish'd him likewise, pretended to have collated the old Copies, and yet seldom has corrected the Text but to its Injury. I congratulate with the Manes of our Poet, that this Gentleman has been sparing in indulging his private Sense, as he phrases it; for He who tampers with an Author whom he does not understand, must do it at the Expence of his Subject. I have made it evident throughout my Remarks, that he has frequently inflicted a Wound where he intended a Cure. He has acted with regard to our Author, as an Editor, whom Lipsius mentions, did with regard to Martial; Inventus est nescio quis Popa, qui non vitia ejus, sed ipsum excidit. He has attack'd him like an unhandy Slaughterman; and not lopp'd off the Errors, but the Poet.

When this is found to be Fact, how absurd must appear the Praises of such an Editor! It seems a moot Point, whether Mr. Pope has done most Injury to Shakespeare as his Editor and Encomiast, or Mr. Rymer done him Service as his Rival and Censurer. They have Both shewn themselves in an equal Impuissance of suspecting, or amending, the corrupted Passages: and tho' it be neither Prudence to censure, or commend, what one does not understand; yet if a man must do one when he plays the Critick, the latter is the more ridiculous Office: And by that Shakespeare suffers most. For the natural Veneration which we have for him, makes us apt to swallow whatever is given us as his, and set off with Encomiums; and hence we quit all suspicions of Depravity: On the contrary, the Censure of so divine an Author sets us upon his Defence; and this produces an exact Scrutiny and Examination, which ends in finding out and discriminating the true from the spurious.

It is not with any secret Pleasure that I so frequently [pg 079] animadvert on Mr. Pope as a Critick; but there are Provocations which a Man can never quite forget. His Libels have been thrown out with so much Inveteracy, that, not to dispute whether they should come from a Christian, they leave it a Question whether they could come from a Man. I should be loth to doubt, as Quintus Serenus did in a like Case,

Sive homo, seu similis turpissima bestia nobis,
Vulnera dente dedit.

The Indignation, perhaps, for being represented a Block-head, may be as strong in us as it is in the Ladies for a Reflexion on their Beauties. It is certain, I am indebted to Him for some flagrant Civilities; and I shall willingly devote a Part of my Life to the honest Endeavour of quitting Scores: with this Exception however, that I will not return those Civilities in his peculiar Strain, but confine myself, at least, to the Limits of common Decency. I shall ever think it better to want Wit, than to want Humanity: and impartial Posterity may, perhaps, be of my Opinion.

But, to return to my Subject; which now calls upon me to inquire into those Causes, to which the Depravations of my Author originally may be assign'd. We are to consider him as a Writer, of whom no authentic Manuscript was left extant; as a Writer, whose Pieces were dispersedly perform'd on the several Stages then in Being. And it was the Custom of those Days for the Poets to take a Price of the Players for the Pieces They from time to time furnish'd; and thereupon it was suppos'd, they had no farther Right to print them without the Consent of the Players. As it was the Interest of the Companies to keep their Plays unpublish'd, when any one succeeded, there was a Contest betwixt the Curiosity of the Town, who demanded to see it in Print, and the Policy of the Stagers, who wish'd to secrete it within their own Walls. Hence, many Pieces were taken down in Short-hand, and imperfectly copied by Ear, from a Representation: Others were printed from piece-meal Parts [pg 080] surreptitiously obtain'd from the Theatres, uncorrect, and without the Poet's Knowledge. To some of these Causes we owe the Train of Blemishes that deform those Pieces which stole singly into the World in our Author's Lifetime.

There are still other Reasons which may be suppos'd to have affected the whole Set. When the Players took upon them to publish his Works intire, every Theatre was ransack'd to supply the Copy; and Parts collected, which had gone thro' as many Changes as Performers, either from Mutilations or Additions made to them. Hence we derive many Chasms and Incoherences in the Sense and Matter. Scenes were frequently transposed, and shuffled out of their true Place, to humour the Caprice, or suppos'd Convenience, of some particular Actor. Hence much Confusion and Impropriety has attended and embarrass'd the Business and Fable. To these obvious Causes of Corruption it must be added, That our Author has lain under the Disadvantage of having his Errors propagated and multiplied by Time: because, for near a Century, his Works were publish'd from the faulty Copies, without the Assistance of any intelligent Editor: which has been the Case likewise of many a Classic Writer.

The Nature of any Distemper once found has generally been the immediate Step to a Cure. Shakespeare's Case has in a great Measure resembled That of a corrupt Classic; and, consequently, the Method of Cure was likewise to bear a Resemblance. By what Means, and with what Success, this Cure has been effected on ancient Writers, is too well known, and needs no formal Illustration. The Reputation, consequent on Tasks of that Nature, invited me to attempt the Method here; with this view, the Hopes of restoring to the Publick their greatest Poet in his original Purity: after having so long lain in a Condition that was a Disgrace to common Sense. To this end I have ventur'd on a Labour, that is the first Assay of the kind on any modern Author whatsoever.

[pg 081]

For the late Edition of Milton by the Learned Dr. Bentley is, in the main, a Performance of another Species. It is plain, it was the Intention of that Great Man rather to correct and pare off the Excrescencies of the Paradise Lost, in the Manner that Tucca and Varius were employ'd to criticize the Æneis of Virgil, than to restore corrupted Passages. Hence, therefore, may be seen either the Iniquity or Ignorance of his Censurers, who, from some Expressions, would make us believe, the Doctor every where gives us his Corrections as the original Text of the Author; whereas the chief Turn of his Criticism is plainly to shew the World, that if Milton did not write as He would have him, he ought to have wrote so.

I thought proper to premise this Observation to the Readers, as it will shew that the Critic on Shakespeare is of a quite different Kind. His genuine Text is for the most part religiously adhered to, and the numerous Faults and Blemishes, purely his own, are left as they were found. Nothing is alter'd, but what by the clearest Reasoning can be proved a Corruption of the true Text; and the Alteration, a real Restoration of the genuine Reading. Nay, so strictly have I strove to give the true Reading, tho' sometimes not to the Advantage of my Author, that I have been ridiculously ridicul'd for it by Those, who either were iniquitously for turning every thing to my Disadvantage, or else were totally ignorant of the true Duty of an Editor.

The Science of Criticism, as far as it effects an Editor, seems to be reduced to these three Classes; the Emendation of corrupt Passages; the Explanation of obscure and difficult ones; and an Inquiry into the Beauties and Defects of Composition. This Work is principally confin'd to the two former Parts: tho' there are some Specimens interspers'd of the latter Kind, as several of the Emendations were best supported, and several of the Difficulties best explain'd, by taking notice of the Beauties and Defects of the Composition peculiar to this Immortal Poet. But this was but occasional, and for the sake [pg 082] only of perfecting the two other Parts, which were the proper Objects of the Editor's Labour. The third lies open for every willing Undertaker: and I shall be pleas'd to see it the Employment of a masterly Pen.

It must necessarily happen, as I have formerly observ'd, that where the Assistance of Manuscripts is wanting to set an Author's Meaning right, and rescue him from those Errors which have been transmitted down thro' a series of incorrect Editions, and a long Intervention of Time, many Passages must be desperate, and past a Cure; and their true Sense irretrievable either to Care or the Sagacity of Conjecture. But is there any Reason therefore to say, That because All cannot be retriev'd, All ought to be left desperate? We should shew very little Honesty, or Wisdom, to play the Tyrants with an Author's Text; to raze, alter, innovate, and overturn, at all Adventures, and to the utter Detriment of his Sense and Meaning: But to be so very reserved and cautious, as to interpose no Relief or Conjecture, where it manifestly labours and cries out for Assistance, seems, on the other hand, an indolent Absurdity.

As there are very few pages in Shakespeare, upon which some Suspicions of Depravity do not reasonably arise; I have thought it my Duty, in the first place, by a diligent and laborious Collation to take in the Assistances of all the older Copies.

In his Historical Plays, whenever our English Chronicles, and in his Tragedies when Greek or Roman Story, could give any Light; no Pains have been omitted to set Passages right by comparing my Author with his Originals; for as I have frequently observed, he was a close and accurate Copier where-ever his Fable was founded on History.

Where-ever the Author's Sense is clear and discoverable (tho', perchance, low and trivial), I have not by any Innovation tamper'd with his Text, out of an Ostentation of endeavouring to make him speak better than the old Copies have done.

[pg 083]

Where, thro' all the former Editions, a Passage has labour'd under flat Nonsense and invincible Darkness, if, by the Addition or Alteration of a Letter or two, or a Transposition in the Pointing, I have restored to Him both Sense and Sentiment; such Corrections, I am persuaded, will need no Indulgence.

And whenever I have taken a greater Latitude and Liberty in amending, I have constantly endeavour'd to support my Corrections and Conjectures by parallel Passages and Authorities from himself, the surest Means of expounding any Author whatsoever. Cette voÏe d'interpreter un Autheur par lui-mÊme est plus sure que tous les Commentaires, says a very learned French Critick.

As to my Notes (from which the common and learned Readers of our Author, I hope, will derive some Satisfaction), I have endeavour'd to give them a Variety in some Proportion to their Number. Where-ever I have ventur'd at an Emendation, a Note is constantly subjoin'd to justify and assert the Reason of it. Where I only offer a Conjecture, and do not disturb the Text, I fairly set forth my Grounds for such Conjecture, and submit it to Judgment. Some Remarks are spent in explaining Passages, where the Wit or Satire depends on an obscure Point of History: Others, where Allusions are to Divinity, Philosophy, or other Branches of Science. Some are added to shew where there is a Suspicion of our Author having borrow'd from the Ancients: Others, to shew where he is rallying his Contemporaries; or where He himself is rallied by them. And some are necessarily thrown in, to explain an obscure and obsolete Term, Phrase, or Idea. I once intended to have added a complete and copious Glossary; but as I have been importun'd, and am prepar'd, to give a correct Edition of our Author's Poems (in which many Terms occur that are not to be met with in his Plays), I thought a Glossary to all Shakespeare's Works more proper to attend that Volume.

In reforming an infinite Number of Passages in the Pointing, where the Sense was before quite lost, I have [pg 084] frequently subjoin'd Notes to shew the deprav'd, and to prove the reform'd, Pointing: a Part of Labour in this Work which I could very willingly have spar'd myself. May it not be objected, why then have you burden'd us with these Notes? The Answer is obvious, and, if I mistake not, very material. Without such Notes, these Passages in subsequent Editions would be liable, thro' the Ignorance of Printers and Correctors, to fall into the old Confusion: Whereas, a Note on every one hinders all possible Return to Depravity, and for ever secures them in a State of Purity and Integrity not to be lost or forfeited.

Again, as some Notes have been necessary to point out the Detection of the corrupted Text, and establish the Restoration of the genuine Readings; some others have been as necessary for the Explanation of Passages obscure and difficult. To understand the Necessity and Use of this Part of my Task, some Particulars of my Author's Character are previously to be explain'd. There are Obscurities in him, which are common to him with all Poets of the same Species; there are Others, the Issue of the Times he liv'd in; and there are others, again, peculiar to himself. The Nature of Comic Poetry being entirely satirical, it busies itself more in exposing what we call Caprice and Humour, than Vices cognizable to the Laws. The English, from the Happiness of a free Constitution, and a Turn of Mind peculiarly speculative and inquisitive, are observ'd to produce more Humourists and a greater Variety of original Characters, than any other People whatsoever: And These owing their immediate Birth to the peculiar Genius of each Age, an infinite Number of Things alluded to, glanced at, and expos'd, must needs become obscure, as the Characters themselves are antiquated and disused. An Editor therefore should be well vers'd in the History and Manners of his Author's Age, if he aims at doing him a Service in this Respect.

Besides, Wit lying mostly in the Assemblage of Ideas, and in the putting Those together with Quickness and [pg 085] Variety, wherein can be found any Resemblance, or Congruity, to make up pleasant Pictures, and agreeable Visions in the Fancy; the Writer, who aims at Wit, must of course range far and wide for Materials. Now, the Age in which Shakespeare liv'd, having, above all others, a wonderful Affection to appear Learned, They declined vulgar Images, such as are immediately fetch'd from Nature, and rang'd thro' the Circle of the Sciences to fetch their Ideas from thence. But as the Resemblances of such Ideas to the Subject must necessarily lie very much out of the common Way, and every Piece of Wit appear a Riddle to the Vulgar; This, that should have taught them the forced, quaint, unnatural Tract they were in (and induce them to follow a more natural One), was the very Thing that kept them attach'd to it. The ostentatious Affectation of abstruse Learning, peculiar to that Time, the Love that Men naturally have to every Thing that looks like Mystery, fixed them down to this Habit of Obscurity. Thus became the Poetry of Donne (tho' the wittiest Man of that Age) nothing but a continued Heap of Riddles. And our Shakespeare, with all his easy Nature about him, for want of the Knowledge of the true Rules of Art, falls frequently into this vicious Manner.

The third Species of Obscurities which deform our Author, as the Effects of his own Genius and Character, are Those that proceed from his peculiar Manner of Thinking, and as peculiar a Manner of cloathing those Thoughts. With regard to his Thinking, it is certain that he had a general Knowledge of all the Sciences: But his Acquaintance was rather That of a Traveller, than a Native. Nothing in Philosophy was unknown to him; but every Thing in it had the Grace and Force of Novelty. And as Novelty is one main Source of Admiration, we are not to wonder that He has perpetual Allusions to the most recondite Parts of the Sciences: and This was done not so much out of Affectation, as the Effect of Admiration begot by [pg 086] Novelty. Then, as to his Style and Diction, we may much more justly apply to Shakespeare what a celebrated Writer has said of Milton; Our Language sunk under him, and was unequal to that Greatness of Soul which furnish'd him with such glorious Conceptions. He therefore frequently uses old Words, to give his Diction an Air of Solemnity; as he coins others, to express the Novelty and Variety of his Ideas.

Upon every distinct Species of these Obscurities I have thought it my Province to employ a Note, for the Service of my Author, and the Entertainment of my Readers. A few transient Remarks too I have not scrupled to intermix, upon the Poet's Negligences and Omissions in point of Art; but I have done it always in such a Manner as will testify my Deference and Veneration for the immortal Author. Some Censurers of Shakespeare, and particularly Mr. Rymer, have taught me to distinguish betwixt the Railer and Critick. The Outrage of his Quotations is so remarkably violent, so push'd beyond all bounds of Decency and Sober Reasoning, that it quite carries over the Mark at which it was levell'd. Extravagant Abuse throws off the Edge of the intended Disparagement, and turns the Madman's Weapon into his own Bosom. In short, as to Rymer, This is my Opinion of him from his Criticisms on the Tragedies of the Last Age. He writes with great Vivacity, and appears to have been a Scholar: but, as for his Knowledge of the Art of Poetry, I can't perceive it was any deeper than his Acquaintance with Bossu and Dacier, from whom he has transcrib'd many of his best Reflexions. The late Mr. Gildon was one attached to Rymer by a similar way of Thinking and Studies. They were both of that Species of Criticks, who are desirous of displaying their Powers rather in finding Faults, than in consulting the Improvement of the World: the hypercritical Part of the Science of Criticism.

I had not mentioned the modest Liberty I have here [pg 087] and there taken of animadverting on my Author, but that I was willing to obviate in time the splenetick Exaggerations of my Adversaries on this Head. From past Experiments I have reason to be conscious in what Light this Attempt may be placed: and that what I call a modest Liberty, will, by a little of their Dexterity, be inverted into downright Impudence. From a hundred mean and dishonest Artifices employ'd to discredit this Edition, and to cry down its Editor, I have all the Grounds in nature to beware of Attacks. But tho' the Malice of Wit, join'd to the Smoothness of Versification, may furnish some Ridicule; Fact, I hope, will be able to stand its Ground against Banter and Gaiety.

It has been my Fate, it seems, as I thought it my Duty, to discover some Anachronisms in our Author; which might have slept in Obscurity but for this Restorer, as Mr. Pope is pleas'd affectionately to stile me: as, for Instance, where Aristotle is mentioned by Hector in Troilus and Cressida: and Galen, Cato, and Alexander the Great, in Coriolanus. These, in Mr. Pope's Opinion, are Blunders, which the Illiteracy of the first Publishers of his Works has father'd upon the Poet's Memory: it not being at all credible, that These could be the Errors of any Man who had the least Tincture of a School, or the least Conversation with Such as had. But I have sufficiently proved, in the course of my Notes, that such Anachronisms were the Effect of Poetic Licence, rather than of Ignorance in our Poet. And if I may be permitted to ask a modest Question by the way, Why may not I restore an Anachronism really made by our Author, as well as Mr. Pope take the Privilege to fix others upon him, which he never had it in his Head to make; as I may venture to affirm he had not, in the Instance of Sir Francis Drake, to which I have spoke in the proper Place?

But who shall dare make any Words about this Freedom of Mr. Pope's towards Shakespeare, if it can [pg 088] be prov'd, that, in his Fits of Criticism, he makes no more Ceremony with good Homer himself? To try, then, a Criticism of his own advancing; In the 8th Book of the Odyssey, where Demodocus sings the Episode of the Loves of Mars and Venus; and that, upon their being taken in the Net by Vulcan,

——The God of Arms
Must pay the Penalty for lawless Charms;

Mr. Pope is so kind gravely to inform us, “That Homer in This, as in many other Places, seems to allude to the Laws of Athens, where Death was the Punishment of Adultery.” But how is this significant Observation made out? Why, who can possibly object any Thing to the contrary?—Does not Pausanias relate that Draco the Lawgiver to the Athenians granted Impunity to any Person that took Revenge upon an Adulterer? And was it not also the Institution of Solon, that if Any One took an Adulterer in the Fact, he might use him as he pleas'd? These Things are very true: and to see what a good Memory, and sound Judgment in Conjunction can atchieve! Tho' Homer's Date is not determin'd down to a single Year, yet 'tis pretty generally agreed that he liv'd above 300 Years before Draco and Solon: And That, it seems, has made him seem to allude to the very Laws which these Two Legislators propounded about 300 Years after. If this Inference be not something like an Anachronism or Prolepsis, I'll look once more into my Lexicons for the true Meaning of the Words. It appears to me that somebody besides Mars and Venus has been caught in a Net by this Episode: and I could call in other Instances to confirm what treacherous Tackle this Net-work is, if not cautiously handled.

How just, notwithstanding, I have been in detecting the Anachronisms of my Author, and in defending him for the Use of them, our late Editor seems to think, they should rather have slept in Obscurity: and the [pg 089] having discovered them is sneer'd at, as a sort of wrong-headed Sagacity.

The numerous Corrections which I have made of the Poet's Text in my Shakespeare Restor'd, and which the Publick have been so kind to think well of, are, in the Appendix of Mr. Pope's last Edition, slightingly call'd Various Readings, Guesses, &c. He confesses to have inserted as many of them as he judg'd of any the least Advantage to the Poet; but says, that the whole amounted to about 25 Words: and pretends to have annexed a compleat List of the rest, which were not worth his embracing. Whoever has read my Book, will at one Glance see, how in both these Points Veracity is strain'd, so an Injury might but be done. Malus, etsi obesse non potest, tamen cogitat.

Another Expedient, to make my Work appear of a trifling Nature, has been an Attempt to depreciate Literal Criticism. To this end, and to pay a servile Compliment to Mr. Pope, an Anonymous Writer has, like a Scotch Pedlar in Wit, unbraced his Pack on the Subject. But, that his Virulence might not seem to be levelled singly at me, he has done me the Honour to join Dr. Bentley in the Libel. I was in hopes, we should have been both abused with Smartness of Satire at least, tho' not with Solidity of Argument; that it might have been worth some Reply in Defence of the Science attacked. But I may fairly say of this Author, as Falstaffe does of Poins;—Hang him, Baboon! his Wit is as thick as Tewksbury Mustard; there is no more Conceit in him, than is in a Mallet. If it be not Prophanation to set the Opinion of the divine Longinus against such a Scribler, he tells us expressly, “That to make a Judgment upon Words (and Writings) is the most consummate Fruit of much Experience.” ? ??? t?? ????? ???s?? p????? ?st? pe??a? te?e?ta??? ?p??????a. Whenever Words are depraved, the Sense of course must be corrupted; and thence the Reader's betray'd into a false Meaning.

If the Latin and Greek Languages have receiv'd the [pg 090] greatest Advantages imaginable from the Labours of the Editors and Criticks of the two last Ages; by whose Aid and Assistance the Grammarians have been enabled to write infinitely better in that Art than even the preceding Grammarians, who wrote when those Tongues flourish'd as living Languages: I should account it a peculiar Happiness, that, by the faint Assay I have made in this Work, a Path might be chalk'd out, for abler Hands, by which to derive the same Advantages to our own Tongue: a Tongue, which, tho' it wants none of the fundamental Qualities of an universal Language, yet, as a noble Writer says, lisps and stammers as in its Cradle; and has produced little more towards its polishing than Complaints of its Barbarity.

Having now run thro' all those Points which I intended should make any Part of this Dissertation, and having in my former Edition made publick Acknowledgments of the Assistances lent me, I shall conclude with a brief Account of the Methods taken in This.

It was thought proper, in order to reduce the Bulk and Price of the Impression, that the Notes, where-ever they would admit of it, might be abridg'd: for which Reason I have curtail'd a great Quantity of Such, in which Explanations were too prolix, or Authorities in Support of an Emendation too numerous: and Many I have entirely expung'd, which were judg'd rather Verbose and Declamatory (and, so, Notes merely of Ostentation), than necessary or instructive.

The few literal Errors which had escap'd Notice, for want of Revisals, in the former Edition, are here reform'd: and the Pointing of innumerable Passages is regulated, with all the Accuracy I am capable of.

I shall decline making any farther Declaration of the Pains I have taken upon my Author, because it was my Duty, as his Editor, to publish him with my best Care and Judgment: and because I am sensible, all such Declarations are construed to be laying a sort of a Debt on the Publick. As the former Edition has been received [pg 091] with much Indulgence, I ought to make my Acknowledgments to the Town for their favourable Opinion of it: and I shall always be proud to think That Encouragement the best Payment I can hope to receive from my poor Studies.

[pg 092]

What the Publick is here to expect is a true and correct Edition of Shakespear's works cleared from the corruptions with which they have hitherto abounded. One of the great Admirers of this incomparable Author hath made it the amusement of his leisure hours for many years past to look over his writings with a careful eye, to note the obscurities and absurdities introduced into the text, and according to the best of his judgment to restore the genuine sense and purity of it. In this he proposed nothing to himself but his private satisfaction in making his own copy as perfect as he could: but as the emendations multiplied upon his hands, other Gentlemen equally fond of the Author desired to see them, and some were so kind as to give their assistance by communicating their observations and conjectures upon difficult passages which had occurred to them. Thus by degrees the work growing more considerable than was at first expected, they who had the opportunity of looking into it, too partial perhaps in their judgment, thought it worth being made publick; and he, who hath with difficulty yielded to their perswasions, is far from desiring to reflect upon the late Editors for the omissions and defects which they left to be supplied by others who should follow them in the same [pg 093] province. On the contrary, he thinks the world much obliged to them for the progress they made in weeding out so great a number of blunders and mistakes as they have done, and probably he who hath carried on the work might never have thought of such an undertaking if he had not found a considerable part so done to his hands.

From what causes it proceeded that the works of this Author in the first publication of them were more injured and abused than perhaps any that ever pass'd the Press, hath been sufficiently explained in the Preface to Mr. Pope's Edition which is here subjoined, and there needs no more to be said upon that subject. This only the Reader is desired to bear in mind, that as the corruptions are more numerous and of a grosser kind than can well be conceived but by those who have looked nearly into them; so in the correcting them this rule hath been most strictly observed, not to give a loose to fancy, or indulge a licentious spirit of criticism, as if it were fit for any one to presume to judge what Shakespear ought to have written, instead of endeavouring to discover truly and retrieve what he did write: and so great caution hath been used in this respect, that no alterations have been made but what the sense necessarily required, what the measure of the verse often helped to point out, and what the similitude of words in the false reading and in the true, generally speaking, appeared very well to justify.

Most of those passages are here thrown to the bottom of the page and rejected as spurious, which were stigmatized as such in Mr. Pope's Edition; and it were to be wished that more had then undergone the same sentence. The promoter of the present Edition hath ventured to discard but few more upon his own judgment, the most considerable of which is that wretched piece of ribaldry in King Henry V. put into the mouths of the French Princess and an old Gentlewoman, improper enough as it is all in French and not intelligible to an English audience, and yet that perhaps is the best thing that can be said of it. There can be no doubt but a great deal more of that low [pg 094] stuff which disgraces the works of this great Author, was foisted in by the Players after his death, to please the vulgar audiences by which they subsisted: and though some of the poor witticisms and conceits must be supposed to have fallen from his pen, yet as he hath put them generally into the mouths of low and ignorant people, so it is to be remember'd that he wrote for the Stage, rude and unpolished as it then was; and the vicious taste of the age must stand condemned for them, since he hath left upon record a signal proof how much he despised them. In his Play of The Merchant of Venice a Clown is introduced quibbling in a miserable manner, upon which one who bears the character of a man of sense makes the following reflection: How every fool can play upon a word! I think the best grace of wit will shortly turn into silence, and discourse grow commendable in none but parrots. He could hardly have found stronger words to express his indignation at those false pretences to wit then in vogue; and therefore though such trash is frequently interspersed in his writings, it would be unjust to cast it as an imputation upon his taste and judgment and character as a Writer.

There being many words in Shakespear which are grown out of use and obsolete, and many borrowed from other languages which are not enough naturalized or known among us, a Glossary is added at the end of the work, for the explanation of all those terms which have hitherto been so many stumbling-blocks to the generality of Readers; and where there is any obscurity in the text not arising from the words but from a reference to some antiquated customs now forgotten, or other causes of that kind, a note is put at the bottom of the page to clear up the difficulty.

With these several helps if that rich vein of sense which runs through the works of this Author can be retrieved in every part and brought to appear in its true light, and if it may be hoped without presumption that this is here effected; they who love and admire him will receive a new pleasure, and all probably will [pg 095] be more ready to join in doing him justice, who does great honour to his country as a rare and perhaps a singular Genius: one who hath attained an high degree of perfection in those two great branches of Poetry, Tragedy and Comedy, different as they are in their natures from each other; and who may be said without partiality to have equalled, if not excelled, in both kinds, the best writers of any age or country who have thought it glory enough to distinguish themselves in either.

Since therefore other nations have taken care to dignify the works of their most celebrated Poets with the fairest impressions beautified with the ornaments of sculpture, well may our Shakespear be thought to deserve no less consideration: and as a fresh acknowledgment hath lately been paid to his merit, and a high regard to his name and memory, by erecting his Statue at a publick expence; so it is desired that this new Edition of his works, which hath cost some attention and care, may be looked upon as another small monument designed and dedicated to his honour.

[pg 096]

William Warburton: Preface to Edition of Shakespeare. 1747.

It hath been no unusual thing for Writers, when dissatisfied with the Patronage or Judgment of their own Times, to appeal to Posterity for a fair Hearing. Some have even thought fit to apply to it in the first Instance; and to decline Acquaintance with the Public till Envy and Prejudice had quite subsided. But, of all the Trusters to Futurity, commend me to the Author of the following Poems, who not only left it to Time to do him Justice as it would, but to find him out as it could. For, what between too great Attention to his Profit as a Player, and too little to his Reputation as a Poet, his Works, left to the Care of Door-keepers and Prompters, hardly escaped the common Fate of those Writings, how good soever, which are abandon'd to their own Fortune, and unprotected by Party or Cabal. At length, indeed, they struggled into Light; but so disguised and travested, that no classic Author, after having run ten secular Stages thro' the blind Cloisters of Monks and Canons, ever came out in half so maimed and mangled a Condition. But for a full Account of his Disorders, I refer the Reader to the excellent Discourse which follows, and turn myself to consider the Remedies that have been applied to them.

Shakespear's Works, when they escaped the Players, did [pg 097] not fall into much better Hands when they came amongst Printers and Booksellers: who, to say the Truth, had, at first, but small Encouragement for putting him into a better Condition. The stubborn Nonsense, with which he was incrusted, occasioned his lying long neglected amongst the common Lumber of the Stage. And when that resistless Splendor, which now shoots all around him, had, by degrees, broke thro' the Shell of those Impurities, his dazzled Admirers became as suddenly insensible to the extraneous Scurf that still stuck upon him, as they had been before to the native Beauties that lay under it. So that, as then he was thought not to deserve a Cure, he was now supposed not to need any.

His growing Eminence, however, required that he should be used with Ceremony: And he soon had his Appointment of an Editor in form. But the Bookseller, whose dealing was with Wits, having learnt of them, I know not what silly Maxim, that none but a Poet should presume to meddle with a Poet, engaged the ingenious Mr. Rowe to undertake this Employment. A Wit indeed he was; but so utterly unacquainted with the whole Business of Criticism, that he did not even collate or consult the first Editions of the Work he undertook to publish; but contented himself with giving us a meagre Account of the Author's Life, interlarded with some common-place Scraps from his Writings. The Truth is, Shakespear's Condition was yet but ill understood. The Nonsense, now, by consent, received for his own, was held in a kind of Reverence for its Age and Author: and thus it continued, till another great Poet broke the Charm; by shewing us, that the higher we went, the less of it was still to be found.

For the Proprietors, not discouraged by their first unsuccessful Effort, in due time made a second; and, tho' they still stuck to their Poets, with infinitely more Success in their Choice of Mr. Pope. Who, by the mere force of an uncommon Genius, without any particular Study or Profession of this Art, discharged the great [pg 098] Parts of it so well as to make his Edition the best Foundation for all further Improvements. He separated the genuine from the spurious Plays: And, with equal Judgment, tho' not always with the same Success, attempted to clear the genuine Plays from the interpolated Scenes: He then consulted the old Editions; and, by a careful Collation of them, rectified the faulty, and supplied the imperfect Reading, in a great number of places: And lastly, in an admirable Preface, hath drawn a general, but very lively, Sketch of Shakespear's poetic Character; and, in the corrected Text, marked out those peculiar Strokes of Genius which were most proper to support and illustrate that Character. Thus far Mr. Pope. And altho' much more was to be done before Shakespear could be restored to himself (such as amending the corrupted Text where the printed Books afford no Assistance; explaining his licentious Phraseology and obscure Allusions; and illustrating the Beauties of his Poetry); yet, with great Modesty and Prudence, our illustrious Editor left this to the Critic by Profession.

But nothing will give the common Reader a better idea of the Value of Mr. Pope's Edition, than the two Attempts which have been since made, by Mr. Theobald and Sir Thomas Hanmer, in Opposition to it. Who, altho' they concerned themselves only in the first of these three Parts of Criticism, the restoring the Text (without any Conception of the second, or venturing even to touch upon the third), yet succeeded so very ill in it, that they left their Author in ten times a worse Condition than they found him. But, as it was my ill Fortune to have some accidental Connexions with these two Gentlemen, it will be incumbent on me to be a little more particular concerning them.

The One was recommended to me as a poor Man; the Other as a poor Critic: and to each of them, at different times, I communicated a great number of Observations, which they managed, as they saw fit, to [pg 099] the Relief of their several Distresses. As to Mr. Theobald, who wanted Money, I allowed him to print what I gave him for his own Advantage: and he allowed himself in the Liberty of taking one Part for his own, and sequestering another for the Benefit, as I supposed, of some future Edition. But, as to the Oxford Editor, who wanted nothing but what he might very well be without, the Reputation of a Critic, I could not so easily forgive him for trafficking with my Papers without my Knowledge; and, when that Project fail'd, for employing a number of my Conjectures in his Edition against my express Desire not to have that Honour done unto me.

Mr. Theobald was naturally turned to Industry and Labour. What he read he could transcribe: but, as what he thought, if ever he did think, he could but ill express, so he read on; and by that means got a Character of Learning, without risquing, to every Observer, the Imputation of wanting a better Talent. By a punctilious Collation of the old Books, he corrected what was manifestly wrong in the latter Editions, by what was manifestly right in the earlier. And this is his real merit; and the whole of it. For where the Phrase was very obsolete or licentious in the common Books, or only slightly corrupted in the other, he wanted sufficient Knowledge of the Progress and various Stages of the English Tongue, as well as Acquaintance with the Peculiarity of Shakespear's Language, to understand what was right; nor had he either common Judgment to see, or critical Sagacity to amend, what was manifestly faulty. Hence he generally exerts his conjectural Talent in the wrong Place: He tampers with what is found in the common Books; and, in the old ones, omits all Notice of Variations the Sense of which he did not understand.

How the Oxford Editor came to think himself qualified for this Office, from which his whole Course of Life had been so remote, is still more difficult to [pg 100] conceive. For whatever Parts he might have either of Genius or Erudition, he was absolutely ignorant of the Art of Criticism, as well as the Poetry of that Time, and the Language of his Author: And so far from a Thought of examining the first Editions, that he even neglected to compare Mr. Pope's, from which he printed his own, with Mr. Theobald's; whereby he lost the Advantage of many fine Lines which the other had recovered from the old Quartos. Where he trusts to his own Sagacity, in what affects the Sense, his Conjectures are generally absurd and extravagant, and violating every Rule of Criticism. Tho', in this Rage of Correcting, he was not absolutely destitute of all Art. For, having a Number of my Conjectures before him, he took as many of them as he saw fit, to work upon; and by changing them to something, he thought, synonymous or similar, he made them his own; and so became a Critic at a cheap Expence. But how well he hath succeeded in this, as likewise in his Conjectures which are properly his own, will be seen in the course of my Remarks: Tho', as he hath declined to give the Reasons for his Interpolations, he hath not afforded me so fair a hold of him as Mr. Theobald hath done, who was less cautious. But his principal Object was to reform his Author's Numbers; and this, which he hath done, on every Occasion, by the Insertion or Omission of a set of harmless unconcerning Expletives, makes up the gross Body of his innocent Corrections. And so, in spite of that extreme Negligence in Numbers which distinguishes the first Dramatic Writers, he hath tricked up the old Bard, from Head to Foot, in all the finical Exactness of a modern Measurer of Syllables.

For the rest, all the Corrections which these two Editors have made on any reasonable Foundation, are here admitted into the Text, and carefully assigned to their respective Authors: A piece of Justice which the Oxford Editor never did; and which the Other [pg 101] was not always scrupulous in observing towards me. To conclude with them in a word, They separately possessed those two Qualities which, more than any other, have contributed to bring the Art of Criticism into disrepute, Dulness of Apprehension, and Extravagance of Conjecture.

I am now to give some Account of the present Undertaking. For as to all those Things which have been published under the titles of Essays, Remarks, Observations, &c. on Shakespear, (if you except some critical Notes on Macbeth, given as a Specimen of a projected Edition, and written, as appears, by a Man of Parts and Genius) the rest are absolutely below a serious Notice.

The whole a Critic can do for an Author who deserves his Service, is to correct the faulty Text; to remark the Peculiarities of Language; to illustrate the obscure Allusions; and to explain the Beauties and Defects of Sentiment or Composition. And surely, if ever Author had a Claim to this Service, it was our Shakespear: Who, widely excelling in the Knowledge of Human Nature, hath given to his infinitely varied Pictures of it, such Truth of Design, such Force of Drawing, such Beauty of Colouring, as was hardly ever equalled by any Writer, whether his Aim was the Use, or only the Entertainment of Mankind. The Notes in this Edition, therefore, take in the whole Compass of Criticism.

I. The first sort is employed in restoring the Poet's genuine Text; but in those Places only where it labours with inextricable Nonsense. In which, how much soever I may have given Scope to critical Conjecture, where the old Copies failed me, I have indulged nothing to Fancy or Imagination; but have religiously observed the severe Canons of literal Criticism; as may be seen from the Reasons accompanying every Alteration of the common Text. Nor would a different Conduct have become a Critic whose greatest [pg 102] Attention, in this part, was to vindicate the established Reading from Interpolations occasioned by the fanciful Extravagancies of others. I once intended to have given the Reader a body of Canons, for literal Criticism, drawn out in form; as well such as concern the Art in general, as those that arise from the Nature and Circumstances of our Author's Works in particular. And this for two Reasons. First, To give the unlearned Reader a just Idea, and consequently a better Opinion of the Art of Criticism, now sunk very low in the popular Esteem, by the Attempts of some who would needs exercise it without either natural or acquired Talents; and by the ill Success of others, who seemed to have lost both, when they came to try them upon English Authors. Secondly, To deter the unlearned Writer from wantonly trifling with an Art he is a Stranger to, at the Expence of his own Reputation, and the Integrity of the Text of established Authors. But these Uses may be well supplied by what is occasionally said upon the Subject, in the Course of the following Remarks.

II. The second sort of Notes consists in an Explanation of the Author's Meaning, when, by one or more of these Causes, it becomes obscure; either from a licentious Use of Terms; or a hard or ungrammatical Construction; or lastly, from far-fetch'd or quaint Allusions.

1. This licentious Use of Words is almost peculiar to the Language of Shakespear. To common Terms he hath affixed Meanings of his own, unauthorised by Use, and not to be justified by Analogy. And this Liberty he hath taken with the noblest Parts of Speech, such as Mixed-modes; which, as they are most susceptible of Abuse, so their Abuse most hurts the Clearness of the Discourse. The Critics (to whom Shakespear's Licence was still as much a Secret as his Meaning, which that Licence had obscured) fell into two contrary Mistakes; but equally injurious to his Reputation and his Writings. For some of them, [pg 103] observing a Darkness that pervaded his whole Expression, have censured him for Confusion of Ideas and Inaccuracy of reasoning. In the Neighing of a Horse (says Rymer), or in the Growling of a Mastiff, there is a Meaning, there is a lively Expression, and, may I say, more Humanity than many times in the tragical Flights of Shakespear. The Ignorance of which Censure is of a Piece with its Brutality. The Truth is, no one thought clearer, or argued more closely than this immortal Bard. But his Superiority of Genius less needing the Intervention of Words in the Act of Thinking, when he came to draw out his Contemplations into Discourse, he took up (as he was hurried on by the Torrent of his Matter) with the first Words that lay in his Way; and if, amongst these, there were two Mixed-modes that had but a principal Idea in common, it was enough for him; he regarded them as synonymous, and would use the one for the other without Fear or Scruple.—Again, there have been others, such as the two last Editors, who have fallen into a contrary Extreme, and regarded Shakespear's Anomalies (as we may call them) amongst the Corruptions of his Text; which, therefore, they have cashiered in great Numbers, to make room for a Jargon of their own. This hath put me to additional Trouble; for I had not only their Interpolations to throw out again, but the genuine Text to replace, and establish in its stead; which, in many Cases, could not be done without shewing the peculiar Sense of the Terms, and explaining the Causes which led the Poet to so perverse a use of them. I had it once, indeed, in my Design, to give a general alphabetic Glossary of these Terms; but as each of them is explained in its proper Place, there seemed the less Occasion for such an Index.

2. The Poet's hard and unnatural Construction had a different Original. This was the Effect of mistaken Art and Design. The Public Taste was in its Infancy; [pg 104] and delighted (as it always does during that State) in the high and turgid; which leads the Writer to disguise a vulgar expression with hard and forced construction, whereby the Sentence frequently becomes cloudy and dark. Here, his Critics shew their modesty, and leave him to himself. For the arbitrary change of a Word doth little towards dispelling an obscurity that ariseth, not from the licentious use of a single Term, but from the unnatural arrangement of a whole Sentence. And they risqued nothing by their silence. For Shakespear was too clear in Fame to be suspected of a want of Meaning; and too high in Fashion for any one to own he needed a Critic to find it out. Not but, in his best works, we must allow, he is often so natural and flowing, so pure and correct, that he is even a model for stile and language.

3. As to his far-fetched and quaint Allusions, these are often a cover to common thoughts; just as his hard construction is to common expression. When they are not so, the Explanation of them has this further advantage, that, in clearing the Obscurity, you frequently discover some latent conceit not unworthy of his Genius.

III. The third and last sort of Notes is concerned in a critical explanation of the Author's Beauties and Defects; but chiefly of his Beauties, whether in Stile, Thought, Sentiment, Character, or Composition. An odd humour of finding fault hath long prevailed amongst the Critics; as if nothing were worth remarking that did not, at the same time, deserve to be reproved. Whereas the public Judgment hath less need to be assisted in what it shall reject, than in what it ought to prize; Men being generally more ready at spying Faults than in discovering Beauties. Nor is the value they set upon a Work, a certain proof that they understand it. For 'tis ever seen, that half a dozen Voices of credit give the lead: And if the Publick chance to be in good humour, or the Author much in their favour, the People are sure to [pg 105] follow. Hence it is that the true Critic hath so frequently attached himself to Works of established reputation; not to teach the World to admire, which, in those circumstances, to say the truth, they are apt enough to do of themselves; but to teach them how with reason to admire: No easy matter, I will assure you, on the subject in question: For tho' it be very true, as Mr. Pope hath observed, that Shakespear is the fairest and fullest subject for criticism, yet it is not such a sort of criticism as may be raised mechanically on the Rules which Dacier, Rapin, and Bossu have collected from Antiquity; and of which such kind of Writers as Rymer, Gildon, Dennis, and Oldmixon, have only gathered and chewed the Husks: nor on the other hand is it to be formed on the plan of those crude and superficial Judgments, on books and things, with which a certain celebrated Paper so much abounds; too good indeed to be named with the Writers last mentioned, but being unluckily mistaken for a Model, because it was an Original, it hath given rise to a deluge of the worst sort of critical Jargon; I mean that which looks most like sense. But the kind of criticism here required is such as judgeth our Author by those only Laws and Principles on which he wrote, Nature, and Common-sense.

Our Observations, therefore, being thus extensive, will, I presume, enable the Reader to form a right judgment of this favourite Poet, without drawing out his Character, as was once intended, in a continued discourse.

These, such as they are, were amongst my younger amusements, when, many years ago, I used to turn over these sort of Writers to unbend myself from more serious applications: And what, certainly, the Public, at this time of day, had never been troubled with, but for the conduct of the two last Editors, and the persuasions of dear Mr. Pope; whose memory and name,

——semper acerbum,
Semper honoratum (sic Di voluistis) habebo.
[pg 106]

He was desirous I should give a new Edition of this Poet, as he thought it might contribute to put a stop to a prevailing folly of altering the Text of celebrated Authors without Talents or Judgment. And he was willing that his Edition should be melted down into mine, as it would, he said, afford him (so great is the modesty of an ingenuous temper) a fit opportunity of confessing his Mistakes.40 In memory of our Friendship, I have, therefore, made it our joint Edition. His admirable Preface is here added; all his Notes are given, with his name annexed; the Scenes are divided according to his regulation; and the most beautiful passages distinguished, as in his book, with inverted commas. In imitation of him, I have done the same by as many others as I thought most deserving of the Reader's attention, and have marked them with double commas.

If, from all this, Shakespear or good Letters have received any advantage, and the Public any benefit or entertainment, the thanks are due to the Proprietors, who have been at the expence of procuring this Edition. And I should be unjust to several deserving Men of a reputable and useful Profession, if I did not, on this occasion, acknowledge the fair dealing I have always found amongst them; and profess my sense of the unjust Prejudice which lies against them; whereby they have been, hitherto, unable to procure that security for their Property, which they see the rest of their Fellow-Citizens enjoy: A prejudice in part arising from the frequent Piracies (as they are called) committed by Members of their own Body. But such kind of Members no Body is without. And it would be hard that this should be turned to the discredit of the honest part of the Profession, who suffer more from such Injuries than any other men. It hath, in part too, arisen from the clamours of profligate Scriblers, ever ready, for a piece of Money, to prostitute their bad sense for or against any Cause prophane or sacred; or in any Scandal public or private: These [pg 107] meeting with little encouragement from Men of account in the Trade (who even in this enlightened Age are not the very worst Judges or Rewarders of merit), apply themselves to People of Condition; and support their importunities by false complaints against Booksellers.

But I should now, perhaps, rather think of my own Apology, than busy myself in the defence of others. I shall have some Tartuffe ready, on the first appearance of this Edition, to call out again, and tell me, that I suffer myself to be wholly diverted from my purpose by these matters less suitable to my clerical Profession. “Well, but,” says a friend, “why not take so candid an intimation in good part? Withdraw yourself, again, as you are bid, into the clerical Pale; examine the Records of sacred and profane Antiquity; and, on them, erect a Work to the confusion of Infidelity.” Why, I have done all this, and more: And hear now what the same Men have said to it. They tell me, I have wrote to the wrong and injury of Religion, and furnished out more handles for Unbelievers. “Oh now the secret's out; and you may have your pardon, I find, upon easier terms. 'Tis only, to write no more.”—Good Gentlemen! and shall I not oblige them? They would gladly obstruct my way to those things which every Man, who endeavours well in his Profession, must needs think he has some claim to, when he sees them given to those who never did endeavour; at the same time that they would deter me from taking those advantages which Letters enable me to procure for myself. If then I am to write no more (tho' as much out of my Profession as they may please to represent this Work, I suspect their modesty would not insist on a scrutiny of our several applications of this profane profit and their purer gains); if, I say, I am to write no more, let me at least give the Public, who have a better pretence to demand it of me, some reason for my presenting them with these amusements. Which, if I am not much mistaken, may be excused by the best and fairest Examples; and, what is more, may be justified on the surer reason of things.

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The great Saint Chrysostom, a name consecrated to immortality by his Virtue and Eloquence, is known to have been so fond of Aristophanes as to wake with him at his studies, and to sleep with him under his pillow: and I never heard that this was objected either to his Piety or his Preaching, not even in those times of pure Zeal and primitive Religion. Yet, in respect of Shakespear's great sense, Aristophanes's best wit is but buffoonry; and, in comparison of Aristophanes's Freedoms, Shakespear writes with the purity of a Vestal. But they will say, St. Chrysostom contracted a fondness for the comic Poet for the sake of his Greek. To this, indeed, I have nothing to reply. Far be it from me to insinuate so unscholarlike a thing, as if We had the same Use for good English that a Greek had for his Attic elegance. Critic Kuster, in a taste and language peculiar to Grammarians of a certain order, hath decreed, that the History and Chronology of Greek Words is the most SOLID entertainment of a Man of Letters.

I fly, then, to a higher Example, much nearer home, and still more in point, The famous University of Oxford. This illustrious Body, which hath long so justly held, and, with such equity, dispensed, the chief honours of the learned World, thought good Letters so much interested in correct Editions of the best English Writers, that they, very lately, in their publick Capacity, undertook one, of this very Author, by subscription. And if the Editor hath not discharged his Task with suitable abilities for one so much honoured by them, this was not their fault but his, who thrust himself into the employment. After such an Example, it would be weakening any defence to seek further for Authorities. All that can be now decently urged is the reason of the thing; and this I shall do, more for the sake of that truly venerable Body than my own.

Of all the literary exercitations of speculative Men, whether designed for the use or entertainment of the World, there are none of so much importance, or what [pg 109] are more our immediate concern, than those which let us into the knowledge of our Nature. Others may exercise the Reason, or amuse the Imagination; but these only can improve the Heart, and form the human Mind to Wisdom. Now, in this Science, our Shakespear is confessed to occupy the foremost place; whether we consider the amazing sagacity with which he investigates every hidden spring and wheel of human Action; or his happy manner of communicating this knowledge, in the just and living paintings which he has given us of all our Passions, Appetites, and Pursuits. These afford a lesson which can never be too often repeated, or too constantly inculcated; And, to engage the Reader's due attention to it, hath been one of the principal objects of this Edition.

As this Science (whatever profound Philosophers may think) is, to the rest, in Things; so, in Words (whatever supercilious Pedants may talk), every one's mother tongue is to all other Languages. This hath still been the Sentiment of Nature and true Wisdom. Hence, the greatest men of Antiquity never thought themselves better employed than in cultivating their own country idiom. So Lycurgus did honour to Sparta, in giving the first compleat Edition of Homer; and Cicero, to Rome, in correcting the Works of Lucretius. Nor do we want Examples of the same good sense in modern Times, even amidst the cruel inrodes that Art and Fashion have made upon Nature and the simplicity of Wisdom. MÉnage, the greatest name in France for all kind of philologic Learning, prided himself in writing critical Notes on their best lyric Poet, Malherbe: And our greater Selden, when he thought it might reflect credit on his Country, did not disdain even to comment a very ordinary Poet, one Michael Drayton. But the English tongue, at this Juncture, deserves and demands our particular regard. It hath, by means of the many excellent Works of different kinds composed in it, engaged the notice, and become the study, of almost every curious and learned Foreigner, so as to be thought even a part of literary accomplishment. This must needs [pg 110] make it deserving of a critical attention: And its being yet destitute of a Test or Standard to apply to, in cases of doubt or difficulty, shews how much it wants that attention. For we have neither Grammar nor Dictionary, neither Chart nor Compass, to guide us through this wide sea of Words. And indeed how should we? since both are to be composed and finished on the Authority of our best established Writers. But their Authority can be of little use till the Text hath been correctly settled, and the Phraseology critically examined. As, then, by these aids, a Grammar and Dictionary, planned upon the best rules of Logic and Philosophy (and none but such will deserve the name), are to be procured; the forwarding of this will be a general concern: For, as Quintilian observes, “Verborum proprietas ac differentia omnibus, qui sermonem curÆ habent, debet esse communis.” By this way, the Italians have brought their tongue to a degree of Purity and Stability which no living Language ever attained unto before. It is with pleasure I observe, that these things now begin to be understood amongst ourselves; and that I can acquaint the Public, we may soon expect very elegant Editions of Fletcher and Milton's Paradise Lost from Gentlemen of distinguished Abilities and Learning. But this interval of good sense, as it may be short, is indeed but new. For I remember to have heard of a very learned Man, who, not long since, formed a design of giving a more correct Edition of Spenser; and, without doubt, would have performed it well; but he was dissuaded from his purpose by his Friends, as beneath the dignity of a Professor of the occult Sciences. Yet these very Friends, I suppose, would have thought it had added lustre to his high Station, to have new-furbished out some dull northern Chronicle, or dark Sibylline Ænigma. But let it not be thought that what is here said insinuates any thing to the discredit of Greek and Latin criticism. If the follies of particular Men were sufficient to bring any branch of Learning into disrepute, I don't know any that would stand in a worse situation than that for which I now [pg 111] apologize. For I hardly think there ever appeared, in any learned Language, so execrable a heap of nonsense, under the name of Commentaries, as hath been lately given us on a certain satyric Poet, of the last Age, by his Editor and Coadjutor.

I am sensible how unjustly the very best classical Critics have been treated. It is said that our great Philosopher spoke with much contempt of the two finest Scholars of this Age, Dr. Bentley and Bishop Hare, for squabbling, as he expressed it, about an old Play-book; meaning, I suppose, Terence's Comedies. But this Story is unworthy of him; tho' well enough suiting the fanatic turn of the wild Writer that relates it; such censures are amongst the follies of men immoderately given over to one Science, and ignorantly undervaluing all the rest. Those learned Critics might, and perhaps did, laugh in their turn (tho' still, sure, with the same indecency and indiscretion) at that incomparable Man, for wearing out a long Life in poring through a Telescope. Indeed, the weaknesses of Such are to be mentioned with reverence. But who can bear, without indignation, the fashionable cant of every trifling Writer, whose insipidity passes, with himself, for politeness, for pretending to be shocked, forsooth, with the rude and savage air of vulgar Critics; meaning such as Muretus, Scaliger, Casaubon, Salmasius, Spanheim, Bentley. When, had it not been for the deathless labours of such as these, the western World, at the revival of Letters, had soon fallen back again into a state of ignorance and barbarity as deplorable as that from which Providence had just redeemed it.

To conclude with an observation of a fine Writer and great Philosopher of our own; which I would gladly bind, tho' with all honour, as a Phylactery, on the Brow of every awful Grammarian, to teach him at once the Use and Limits of his art: Words are the money of fools, and the counters of wise men.

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That praises are without reason lavished on the dead, and that the honours due only to excellence are paid to antiquity, is a complaint likely to be always continued by those, who, being able to add nothing to truth, hope for eminence from the heresies of paradox; or those, who, being forced by disappointment upon consolatory expedients, are willing to hope from posterity what the present age refuses, and flatter themselves that the regard which is yet denied by envy, will be at last bestowed by time.

Antiquity, like every other quality that attracts the notice of mankind, has undoubtedly votaries that reverence it, not from reason, but from prejudice. Some seem to admire indiscriminately whatever has been long preserved, without considering that time has sometimes co-operated with chance; all perhaps are more willing to honour past than present excellence; and the mind contemplates genius through the shades of age, as the eye surveys the sun through artificial opacity. The great contention of criticism is to find the faults of the moderns, and the beauties of the ancients. While an author is yet living, we estimate his powers by his worst performance; and when he is dead, we rate them by his best.

To works, however, of which the excellence is not [pg 113] absolute and definite, but gradual and comparative; to works not raised upon principles demonstrative and scientifick, but appealing wholly to observation and experience, no other test can be applied than length of duration and continuance of esteem. What mankind have long possessed they have often examined and compared, and if they persist to value the possession, it is because frequent comparisons have confirmed opinion in its favour. As among the works of nature no man can properly call a river deep, or a mountain high, without the knowledge of many mountains, and many rivers; so in the production of genius, nothing can be stiled excellent till it has been compared with other works of the same kind. Demonstration immediately displays its power, and has nothing to hope or fear from the flux of years; but works tentative and experimental must be estimated by their proportion to the general and collective ability of man, as it is discovered in a long succession of endeavours. Of the first building that was raised, it might be with certainty determined that it was round or square; but whether it was spacious or lofty must have been referred to time. The Pythagorean scale of numbers was at once discovered to be perfect; but the poems of Homer we yet know not to transcend the common limits of human intelligence, but by remarking that nation after nation, and century after century, has been able to do little more than transpose his incidents, new name his characters, and paraphrase his sentiments.

The reverence due to writings that have long subsisted arises therefore not from any credulous confidence in the superior wisdom of past ages, or gloomy persuasion of the degeneracy of mankind, but is the consequence of acknowledged and indubitable positions, that what has been longest known has been most considered, and what is most considered is best understood.

The poet, of whose works I have undertaken the revision, may now begin to assume the dignity of an ancient, and claim the privilege of an established fame [pg 114] and prescriptive veneration. He has long outlived his century, the term commonly fixed as the test of literary merit. Whatever advantages he might once derive from personal allusions, local customs, or temporary opinions, have for many years been lost; and every topick of merriment or motive of sorrow, which the modes of artificial life afforded him, now only obscure the scenes which they once illuminated. The effects of favour and competition are at an end; the tradition of his friendships and his enmities has perished; his works support no opinion with arguments, nor supply any faction with invectives; they can neither indulge vanity, nor gratify malignity; but are read without any other reason than the desire of pleasure, and are therefore praised only as pleasure is obtained; yet, thus unassisted by interest or passion, they have past through variations of taste and changes of manners, and, as they devolved from one generation to another, have received new honours at every transmission.

But because human judgment, though it be gradually gaining upon certainty, never becomes infallible; and approbation, though long continued, may yet be only the approbation of prejudice or fashion; it is proper to inquire, by what peculiarities of excellence Shakespeare has gained and kept the favour of his countrymen.

Nothing can please many, and please long, but just representations of general nature. Particular manners can be known to few, and therefore few only can judge how nearly they are copied. The irregular combinations of fanciful invention may delight awhile, by that novelty of which the common satiety of life sends us all in quest; but the pleasures of sudden wonder are soon exhausted, and the mind can only repose on the stability of truth.

Shakespeare is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirror of manners and of life. His characters are not modified by the customs of particular places, unpractised by the rest of the world; [pg 115] by the peculiarities of studies or professions, which can operate but upon small numbers; or by the accidents of transient fashions or temporary opinions: they are the genuine progeny of common humanity, such as the world will always supply, and observation will always find. His persons act and speak by the influence of those general passions and principles by which all minds are agitated, and the whole system of life is continued in motion. In the writings of other poets a character is too often an individual; in those of Shakespeare it is commonly a species.

It is from this wide extension of design that so much instruction is derived. It is this which fills the plays of Shakespeare with practical axioms and domestick wisdom. It was said of Euripides, that every verse was a precept; and it may be said of Shakespeare, that from his works may be collected a system of civil and oeconomical prudence. Yet his real power is not shewn in the splendor of particular passages, but by the progress of his fable, and the tenor of his dialogue; and he that tries to recommend him by select quotations, will succeed like the pedant in Heirocles, who, when he offered his house to sale, carried a brick in his pocket as a specimen.

It will not easily be imagined how much Shakespeare excels in accommodating his sentiments to real life, but by comparing him with other authors. It was observed of the ancient schools of declamation, that the more diligently they were frequented, the more was the student disqualified for the world, because he found nothing there which he should ever meet in any other place. The same remark may be applied to every stage but that of Shakespeare. The theatre, when it is under any other direction, is peopled by such characters as were never seen, conversing in a language which was never heard, upon topicks which will never arise in the commerce of mankind. But the dialogue of this author is often so evidently determined by the incident which produces it, and is pursued with so much ease and simplicity, that it seems scarcely to claim [pg 116] the merit of fiction, but to have been gleaned by diligent selection out of common conversation, and common occurrences.

Upon every other stage the universal agent is love, by whose power all good and evil is distributed, and every action quickened or retarded. To bring a lover, a lady, and a rival into the fable; to entangle them in contradictory obligations, perplex them with oppositions of interest, and harrass them with violence of desires inconsistent with each other; to make them meet in rapture, and part in agony; to fill their mouths with hyperbolical joy and outrageous sorrow; to distress them as nothing human ever was distressed; to deliver them as nothing human ever was delivered, is the business of a modern dramatist. For this, probability is violated, life is misrepresented, and language is depraved. But love is only one of many passions, and as it has no great influence upon the sum of life, it has little operation in the dramas of a poet who caught his ideas from the living world, and exhibited only what he saw before him. He knew that any other passion, as it was regular or exorbitant, was a cause of happiness or calamity.

Characters thus ample and general were not easily discriminated and preserved, yet perhaps no poet ever kept his personages more distinct from each other. I will not say with Pope, that every speech may be assigned to the proper speaker, because many speeches there are which have nothing characteristical; but, perhaps, though some may be equally adapted to every person, it will be difficult to find any that can be properly transferred from the present possessor to another claimant. The choice is right, when there is reason for choice.

Other dramatists can only gain attention by hyperbolical or aggravated characters, by fabulous and unexampled excellence or depravity, as the writers of barbarous romances invigorated the reader by a giant [pg 117] and a dwarf; and he that should form his expectation of human affairs from the play, or from the tale, would be equally deceived. Shakespeare has no heroes; his scenes are occupied only by men, who act and speak as the reader thinks that he should himself have spoken or acted on the same occasion: even where the agency is super-natural, the dialogue is level with life. Other writers disguise the most natural passions and most frequent incidents; so that he who contemplates them in the book will not know them in the world: Shakespeare approximates the remote, and familiarizes the wonderful; the event which he represents will not happen, but if it were possible, its effects would probably be such as he has assigned; and it may be said that he has not only shewn human nature as it acts in real exigences, but as it would be found in trials to which it cannot be exposed.

This therefore is the praise of Shakespeare, that his drama is the mirror of life; that he who has mazed his imagination, in following the phantoms which other writers raise up before him, may here be cured of his delirious ecstasies, by reading human sentiments in human language; by scenes from which a hermit may estimate the transactions of the world, and a confessor predict the progress of the passions.

His adherence to general nature has exposed him to the censure of criticks, who form their judgments upon narrower principles. Dennis and Rhymer think his Romans not sufficiently Roman; and Voltaire censures his kings as not completely royal. Dennis is offended that Menenius, a senator of Rome, should play the buffoon; and Voltaire perhaps thinks decency violated when the Danish usurper is represented as a drunkard. But Shakespeare always makes nature predominate over accident; and if he preserves the essential character, is not very careful of distinctions superinduced and adventitious. His story requires Romans or kings, but he thinks only on men. He knew that Rome, like [pg 118] every other city, had men of all dispositions; and wanting a buffoon, he went into the senate-house for that which the senate-house would certainly have afforded him. He was inclined to shew an usurper and a murderer not only odious, but despicable; he therefore added drunkenness to his other qualities, knowing that kings love wine like other men, and that wine exerts its natural power upon kings. These are the petty cavils of petty minds; a poet overlooks the casual distinction of country and condition, as a painter, satisfied with the figure, neglects the drapery.

The censure which he has incurred by mixing comick and tragick scenes, as it extends to all his works, deserves more consideration. Let the fact be first stated, and then examined.

Shakespeare's plays are not in the rigorous and critical sense either tragedies or comedies, but compositions of a distinct kind; exhibiting the real state of sublunary nature, which partakes of good and evil, joy and sorrow, mingled with endless variety of proportion and innumerable modes of combination; and expressing the course of the world, in which the loss of one is the gain of another; in which, at the same time, the reveller is hasting to his wine, and the mourner burying his friend; in which the malignity of one is sometimes defeated by the frolick of another; and many mischiefs and many benefits are done and hindered without design.

Out of this chaos of mingled purposes and casualties, the ancient poets, according to the laws which custom had prescribed, selected some the crimes of men, and some their absurdities; some the momentous vicissitudes of life, and some the lighter occurrences; some the terrors of distress, and some the gaieties of prosperity. Thus rose the two modes of imitation, known by the names of tragedy and comedy, compositions intended to promote different ends by contrary means, and considered as so little allied, that I do not recollect among [pg 119] the Greeks or Romans a single writer who attempted both.

Shakespeare has united the powers of exciting laughter and sorrow not only in one mind, but in one composition. Almost all his plays are divided between serious and ludicrous characters, and, in the successive evolutions of the design, sometimes produce seriousness and sorrow, and sometimes levity and laughter.

That this is a practice contrary to the rules of criticism will be readily allowed; but there is always an appeal open from criticism to nature. The end of writing is to instruct; the end of poetry is to instruct by pleasing. That the mingled drama may convey all the instruction of tragedy or comedy cannot be denied, because it includes both in its alternations of exhibition, and approaches nearer than either to the appearance of life, by shewing how great machinations and slender designs may promote or obviate one another, and the high and the low co-operate in the general system by unavoidable concatenation.

It is objected that by this change of scenes the passions are interrupted in their progression, and that the principal event, being not advanced by a due gradation of preparatory incidents, wants at last the power to move, which constitutes the perfection of dramatick poetry. This reasoning is so specious, that it is received as true even by those who in daily experience feel it to be false. The interchanges of mingled scenes seldom fail to produce the intended vicissitudes of passion. Fiction cannot move so much, but that the attention may be easily transferred; and though it must be allowed that pleasing melancholy be sometimes interrupted by unwelcome levity, yet let it be considered likewise, that melancholy is often not pleasing, and that the disturbance of one man may be the relief of another; that different auditors have different habitudes; and that, upon the whole, all pleasure consists in variety.

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The players, who in their edition divided our author's works into comedies, histories, and tragedies, seem not to have distinguished the three kinds, by any very exact or definite ideas.

An action which ended happily to the principal persons, however serious or distressful through its intermediate incidents, in their opinion constituted a comedy. This idea of a comedy continued long amongst us, and plays were written, which, by changing the catastrophe, were tragedies to-day, and comedies to-morrow.

Tragedy was not in those times a poem of more general dignity or elevation than comedy; it required only a calamitous conclusion, with which the common criticism of that age was satisfied, whatever lighter pleasure it afforded in its progress.

History was a series of actions, with no other than chronological succession, independent on each other, and without any tendency to introduce and regulate the conclusion. It is not always very nicely distinguished from tragedy. There is not much nearer approach to unity of action in the tragedy of Antony and Cleopatra, than in the history of Richard the Second. But a history might be continued through many plays; as it had no plan, it had no limits.

Through all these denominations of the drama, Shakespeare's mode of composition is the same; an interchange of seriousness and merriment, by which the mind is softened at one time, and exhilarated at another. But whatever be his purpose, whether to gladden or depress, or to conduct the story, without vehemence or emotion, through tracts of easy and familiar dialogue, he never fails to attain his purpose; as he commands us, we laugh or mourn, or sit silent with quiet expectation, in tranquillity without indifference.

When Shakespeare's plan is understood, most of the criticisms of Rhymer and Voltaire vanish away. The play of Hamlet is opened, without impropriety, by two centinels; [pg 121] Iago bellows at Brabantio's window, without injury to the scheme of the play, though in terms which a modern audience would not easily endure; the character of Polonius is seasonable and useful, and the Grave-diggers themselves may be heard with applause.

Shakespeare engaged in dramatick poetry with the world open before him; the rules of the ancients were yet known to few; the publick judgment was unformed; he had no example of such fame as might force him upon imitation, nor criticks of such authority as might restrain his extravagance: he therefore indulged his natural disposition, and his disposition, as Rhymer has remarked, led him to comedy. In tragedy he often writes with great appearance of toil and study, what is written at last with little felicity; but in his comick scenes, he seems to produce without labour, what no labour can improve. In tragedy he is always struggling after some occasion to be comick, but in comedy he seems to repose, or to luxuriate, as in a mode of thinking congenial to his nature. In his tragick scenes there is always something wanting, but his comedy often surpasses expectation or desire. His comedy pleases by the thoughts and the language, and his tragedy for the greater part by incident and action. His tragedy seems to be skill, his comedy to be instinct.

The force of his comick scenes has suffered little diminution from the changes made by a century and a half, in manners or in words. As his personages act upon principles arising from genuine passion, very little modified by particular forms, their pleasures and vexations are communicable to all times and to all places; they are natural, and therefore durable; the adventitious peculiarities of personal habits are only superficial dies, bright and pleasing for a little while, yet soon fading to a dim tinct, without any remains of former lustre; but the discriminations of true passion are the colours of nature; they pervade the whole mass, and can only perish with the body that exhibits them. The accidental compositions of [pg 122] heterogeneous modes are dissolved by the chance which combined them; but the uniform simplicity of primitive qualities neither admits increase, nor suffers decay. The sand heaped by one flood is scattered by another, but the rock always continues in its place. The stream of time, which is continually washing the dissoluble fabricks of other poets, passes without injury by the adamant of Shakespeare.

If there be, what I believe there is, in every nation, a stile which never becomes obsolete, a certain mode of phraseology so consonant and congenial to the analogy and principles of its respective language, as to remain settled and unaltered; this stile is probably to be sought in the common intercourse of life, among those who speak only to be understood, without ambition of elegance. The polite are always catching modish innovations, and the learned depart from established forms of speech, in hope of finding or making better; those who wish for distinction forsake the vulgar, when the vulgar is right; but there is a conversation above grossness and below refinement, where propriety resides, and where this poet seems to have gathered his comick dialogue. He is therefore more agreeable to the ears of the present age than any other author equally remote, and among his other excellencies deserves to be studied as one of the original masters of our language.

These observations are to be considered not as unexceptionably constant, but as containing general and predominant truth. Shakespeare's familiar dialogue is affirmed to be smooth and clear, yet not wholly without ruggedness or difficulty; as a country may be eminently fruitful, though it has spots unfit for cultivation: his characters are praised as natural, though their sentiments are sometimes forced, and their actions improbable; as the earth upon the whole is spherical, though its surface is varied with protuberances and cavities.

Shakespeare with his excellencies has likewise faults, and faults sufficient to obscure and overwhelm any other [pg 123] merit. I shall shew them in the proportion in which they appear to me, without envious malignity or superstitious veneration. No question can be more innocently discussed than a dead poet's pretensions to renown; and little regard is due to that bigotry which sets candour higher than truth.

His first defect is that to which may be imputed most of the evil in books or in men. He sacrifices virtue to convenience, and is so much more careful to please than to instruct, that he seems to write without any moral purpose. From his writings indeed a system of social duty may be selected, for he that thinks reasonably must think morally; but his precepts and axioms drop casually from him; he makes no just distribution of good or evil, nor is always careful to shew in the virtuous a disapprobation of the wicked; he carries his persons indifferently through right and wrong, and at the close dismisses them without further care, and leaves their examples to operate by chance. This fault the barbarity of his age cannot extenuate; for it is always a writer's duty to make the world better, and justice is a virtue independent on time or place.

The plots are often so loosely formed, that a very slight consideration may improve them, and so carelessly pursued, that he seems not always fully to comprehend his own design. He omits opportunities of instructing or delighting, which the train of his story seems to force upon him, and apparently rejects those exhibitions which would be more affecting, for the sake of those which are more easy.

It may be observed that in many of his plays the latter part is evidently neglected. When he found himself near the end of his work, and in view of his reward, he shortened the labour to snatch the profit. He therefore remits his efforts where he should most vigorously exert them, and his catastrophe is improbably produced or imperfectly represented.

He had no regard to distinction of time or place, but gives to one age or nation, without scruple, the customs, [pg 124] institutions, and opinions of another, at the expence not only of likelihood, but of possibility. These faults Pope has endeavoured, with more zeal than judgment, to transfer to his imagined interpolators. We need not wonder to find Hector quoting Aristotle, when we see the loves of Theseus and Hippolyta combined with the Gothick mythology of fairies. Shakespeare, indeed, was not the only violator of chronology, for in the same age Sidney, who wanted not the advantages of learning, has, in his Arcadia, confounded the pastoral with the feudal times, the days of innocence, quiet, and security, with those of turbulence, violence, and adventure.

In his comick scenes he is seldom very successful, when he engages his characters in reciprocations of smartness and contests of sarcasm; their jests are commonly gross, and their pleasantry licentious; neither his gentlemen nor his ladies have much delicacy, nor are sufficiently distinguished from his clowns by any appearance of refined manners. Whether he represented the real conversation of his time is not easy to determine; the reign of Elizabeth is commonly supposed to have been a time of stateliness, formality, and reserve, yet perhaps the relaxations of that severity were not very elegant. There must, however, have been always some modes of gaiety preferable to others, and a writer ought to chuse the best.

In tragedy his performance seems constantly to be worse, as his labour is more. The effusions of passion, which exigence forces out, are for the most part striking and energetick; but whenever he solicits his invention, or strains his faculties, the offspring of his throes is tumour, meanness, tediousness, and obscurity.

In narration he affects a disproportionate pomp of diction and a wearisome train of circumlocution, and tells the incident imperfectly in many words, which might have been more plainly delivered in few. Narration in dramatick poetry is naturally tedious, as it is unanimated and inactive, and obstructs the progress of the action; it should therefore always be rapid, and enlivened by [pg 125] frequent interruption. Shakespeare found it an encumbrance, and instead of lightening it by brevity, endeavoured to recommend it by dignity and splendor.

His declamations or set speeches are commonly cold and weak, for his power was the power of nature; when he endeavoured, like other tragick writers, to catch opportunities of amplification, and instead of inquiring what the occasion demanded, to shew how much his stores of knowledge could supply, he seldom escapes without the pity or resentment of his reader.

It is incident to him to be now and then entangled with an unwieldy sentiment, which he cannot well express, and will not reject; he struggles with it a while, and if it continues stubborn, comprises it in words such as occur, and leaves it to be disentangled and evolved by those who have more leisure to bestow upon it.

Not that always where the language is intricate the thought is subtle, or the image always great where the line is bulky; the equality of words to things is very often neglected, and trivial sentiments and vulgar ideas disappoint the attention, to which they are recommended by sonorous epithets and swelling figures.

But the admirers of this great poet have most reason to complain when he approaches nearest to his highest excellence, and seems fully resolved to sink them in dejection, and mollify them with tender emotions by the fall of greatness, the danger of innocence, or the crosses of love. What he does best, he soon ceases to do. He is not long soft and pathetick without some idle conceit, or contemptible equivocation. He no sooner begins to move, than he counteracts himself; and terror and pity, as they are rising in the mind, are checked and blasted by sudden frigidity.

A quibble is to Shakespeare what luminous vapours are to the traveller: he follows it at all adventures; it is sure to lead him out of his way, and sure to engulf him in the mire. It has some malignant power over his mind, and its fascinations are irresistible. Whatever be the [pg 126] dignity or profundity of his disquisition, whether he be enlarging knowledge or exalting affection, whether he be amusing attention with incidents, or enchaining it in suspense, let but a quibble spring up before him, and he leaves his work unfinished. A quibble is the golden apple for which he will always turn aside from his career, or stoop from his elevation. A quibble, poor and barren as it is, gave him such delight, that he was content to purchase it by the sacrifice of reason, propriety, and truth. A quibble was to him the fatal Cleopatra for which he lost the world, and was content to lose it.

It will be thought strange, that, in enumerating the defects of this writer, I have not yet mentioned his neglect of the unities; his violation of those laws which have been instituted and established by the joint authority of poets and of criticks.

For his other deviations from the art of writing, I resign him to critical justice, without making any other demand in his favour, than that which must be indulged to all human excellence; that his virtues be rated with his failings: but, from the censure which this irregularity may bring upon him, I shall, with due reverence to that learning which I must oppose, adventure to try how I can defend him.

His histories, being neither tragedies nor comedies, are not subject to any of their laws; nothing more is necessary to all the praise which they expect, than that the changes of action be so prepared as to be understood, that the incidents be various and affecting, and the characters consistent, natural, and distinct. No other unity is intended, and therefore none is to be sought.

In his other works he has well enough preserved the unity of action. He has not, indeed, an intrigue regularly perplexed and regularly unravelled; he does not endeavour to hide his design only to discover it, for this is seldom the order of real events, and Shakespeare is the poet of nature: but his plan has commonly what Aristotle requires, a beginning, a middle, and an end; one [pg 127] event is concatenated with another, and the conclusion follows by easy consequence. There are perhaps some incidents that might be spared, as in other poets there is much talk that only fills up time upon the stage; but the general system makes gradual advances, and the end of the play is the end of expectation.

To the unities of time and place he has shewn no regard; and perhaps a nearer view of the principles on which they stand will diminish their value, and withdraw from them the veneration which, from the time of Corneille, they have very generally received, by discovering that they have given more trouble to the poet, than pleasure to the auditor.

The necessity of observing the unities of time and place arises from the supposed necessity of making the drama credible. The criticks hold it impossible that an action of months or years can be possibly believed to pass in three hours; or that the spectator can suppose himself to sit in the theatre, while ambassadors go and return between distant kings, while armies are levied and towns besieged, while an exile wanders and returns, or till he whom they saw courting his mistress, shall lament the untimely fall of his son. The mind revolts from evident falsehood, and fiction loses its force when it departs from the resemblance of reality.

From the narrow limitation of time necessarily arises the contraction of place. The spectator, who knows that he saw the first act at Alexandria, cannot suppose that he sees the next at Rome, at a distance to which not the dragons of Medea could, in so short a time, have transported him; he knows with certainty that he has not changed his place; and he knows that place cannot change itself; that what was a house cannot become a plain; that what was Thebes can never be Persepolis.

Such is the triumphant language with which a critick exults over the misery of an irregular poet, and exults commonly without resistance or reply. It is time therefore [pg 128] to tell him, by the authority of Shakespeare, that he assumes, as an unquestionable principle, a position, which, while his breath is forming it into words, his understanding pronounces to be false. It is false that any representation is mistaken for reality; that any dramatick fable in its materiality was ever credible, or, for a single moment, was ever credited.

The objection arising from the impossibility of passing the first hour at Alexandria, and the next at Rome, supposes that when the play opens the spectator really imagines himself at Alexandria, and believes that his walk to the theatre has been a voyage to Egypt, and that he lives in the days of Antony and Cleopatra. Surely he that imagines this may imagine more. He that can take the stage at one time for the palace of the Ptolemies, may take it in half an hour for the promontory of Actium. Delusion, if delusion be admitted, has no certain limitation; if the spectator can be once persuaded that his old acquaintance are Alexander and CÆsar, that a room illuminated with candles is the plain of Pharsalia, or the bank of Granicus, he is in a state of elevation above the reach of reason, or of truth, and from the heights of empyrean poetry may despise the circumscriptions of terrestrial nature. There is no reason why a mind thus wandering in ecstasy should count the clock, or why an hour should not be a century in that calenture of the brains that can make the stage a field.

The truth is that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players. They come to hear a certain number of lines recited with just gesture and elegant modulation. The lines relate to some action, and an action must be in some place; but the different actions that complete a story may be in places very remote from each other; and where is the absurdity of allowing that space to represent first Athens, and then Sicily, which was always known to be neither Sicily nor Athens, but a modern theatre.

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By supposition, as place is introduced, time may be extended; the time required by the fable elapses for the most part between the acts; for, of so much of the action as is represented, the real and poetical duration is the same. If, in the first act, preparations for war against Mithridates are represented to be made in Rome, the event of the war may, without absurdity, be represented, in the catastrophe, as happening in Pontus; we know that there is neither war, nor preparation for war; we know that we are neither in Rome nor Pontus; that neither Mithridates nor Lucullus are before us. The drama exhibits successive imitations of successive actions, and why may not the second imitation represent an action that happened years after the first; if it be so connected with it, that nothing but time can be supposed to intervene. Time is, of all modes of existence, most obsequious to the imagination; a lapse of years is as easily conceived as a passage of hours. In contemplation we easily contract the time of real actions, and therefore willingly permit it to be contracted when we only see their imitation.

It will be asked how the drama moves, if it is not credited. It is credited with all the credit due to a drama. It is credited, whenever it moves, as a just picture of a real original; as representing to the auditor what he would himself feel, if he were to do or suffer what is there feigned to be suffered or to be done. The reflection that strikes the heart is not that the evils before us are real evils, but that they are evils to which we ourselves may be exposed. If there be any fallacy, it is not that we fancy the players, but that we fancy ourselves unhappy for a moment; but we rather lament the possibility than suppose the presence of misery, as a mother weeps over her babe, when she remembers that death may take it from her. The delight of tragedy proceeds from our consciousness of fiction; if we thought murders and treasons real, they would please no more.

Imitations produce pain or pleasure, not because they are mistaken for realities, but because they bring realities [pg 130] to mind. When the imagination is recreated by a painted landscape, the trees are not supposed capable to give us shade, or the fountains coolness; but we consider how we should be pleased with such fountains playing beside us, and such woods waving over us. We are agitated in reading the history of Henry the Fifth, yet no man takes his book for the field of Agincourt. A dramatick exhibition is a book recited with concomitants that increase or diminish its effect. Familiar comedy is often more powerful in the theatre, than on the page; imperial tragedy is always less. The humour of Petruchio may be heightened by grimace; but what voice or what gesture can hope to add dignity or force to the soliloquy of Cato?

A play read affects the mind like a play acted. It is therefore evident that the action is not supposed to be real; and it follows that between the acts a longer or shorter time may be allowed to pass, and that no more account of space or duration is to be taken by the auditor of a drama, than by the reader of a narrative, before whom may pass in an hour the life of a hero, or the revolutions of an empire.

Whether Shakespeare knew the unities, and rejected them by design, or deviated from them by happy ignorance, it is, I think, impossible to decide, and useless to enquire. We may reasonably suppose that, when he rose to notice, he did not want the counsels and admonitions of scholars and criticks, and that he at last deliberately persisted in a practice, which he might have begun by chance. As nothing is essential to the fable but unity of action, and as the unities of time and place arise evidently from false assumptions, and, by circumscribing the extent of the drama, lessen its variety, I cannot think it much to be lamented that they were not known by him, or not observed: nor, if such another poet could arise, should I very vehemently reproach him, that his first act passed at Venice, and his next in Cyprus. Such violations of rules merely positive become the comprehensive genius of Shakespeare, and such censures [pg 131] are suitable to the minute and slender criticism of Voltaire:

Non usque adeo permiscuit imis
Longus summa dies, ut non, si voce Metelli
Serventur leges, malint a CÆsare tolli.

Yet when I speak thus slightly of dramatick rules, I cannot but recollect how much wit and learning may be produced against me; before such authorities I am afraid to stand, not that I think the present question one of those that are to be decided by mere authority, but because it is to be suspected that these precepts have not been so easily received but for better reasons than I have yet been able to find. The result of my enquiries, in which it would be ludicrous to boast of impartiality, is that the unities of time and place are not essential to a just drama, that though they may sometimes conduce to pleasure, they are always to be sacrificed to the nobler beauties of variety and instruction; and that a play, written with nice observation of critical rules, is to be contemplated as an elaborate curiosity, as the product of superfluous and ostentatious art, by which is shewn, rather what is possible, than what is necessary.

He that, without diminution of any other excellence, shall preserve all the unities unbroken, deserves the like applause with the architect who shall display all the orders of architecture in a citadel, without any deduction from its strength; but the principal beauty of a citadel is to exclude the enemy; and the greatest graces of a play are to copy nature, and instruct life.

Perhaps what I have here not dogmatically but deliberately written, may recall the principles of the drama to a new examination. I am almost frighted at my own temerity; and when I estimate the fame and the strength of those that maintain the contrary opinion, am ready to sink down in reverential silence; as Æneas withdrew from the defence of Troy, when he saw Neptune shaking the wall, and Juno heading the besiegers.

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Those whom my arguments cannot persuade to give their approbation to the judgment of Shakespeare, will easily, if they consider the condition of his life, make some allowance for his ignorance.

Every man's performances, to be rightly estimated, must be compared with the state of the age in which he lived, and with his own particular opportunities; and though to a reader a book be not worse or better for the circumstances of the author, yet as there is always a silent reference of human works to human abilities, and as the enquiry, how far man may extend his designs, or how high he may rate his native force, is of far greater dignity than in what rank we shall place any particular performance, curiosity is always busy to discover the instruments, as well as to survey the workmanship, to know how much is to be ascribed to original powers, and how much to casual and adventitious help. The palaces of Peru or Mexico were certainly mean and incommodious habitations, if compared to the houses of European monarchs; yet who could forbear to view them with astonishment, who remembered that they were built without the use of iron?

The English nation, in the time of Shakespeare, was yet struggling to emerge from barbarity. The philology of Italy had been transplanted hither in the reign of Henry the Eighth; and the learned languages had been successfully cultivated by Lilly, Linacre, and More; by Pole, Cheke, and Gardiner; and afterwards by Smith, Clerk, Haddon, and Ascham. Greek was now taught to boys in the principal schools; and those who united elegance with learning, read, with great diligence, the Italian and Spanish poets. But literature was yet confined to professed scholars, or to men and women of high rank. The publick was gross and dark; and to be able to read and write, was an accomplishment still valued for its rarity.

Nations, like individuals, have their infancy. A people newly awakened to literary curiosity, being yet [pg 133] unacquainted with the true state of things, knows not how to judge of that which is proposed as its resemblance. Whatever is remote from common appearances is always welcome to vulgar, as to childish credulity; and of a country unenlightened by learning, the whole people is the vulgar. The study of those who then aspired to plebeian learning was then laid out upon adventures, giants, dragons, and enchantments. The Death of Arthur was the favourite volume.

The mind which has feasted on the luxurious wonders of fiction, has no taste of the insipidity of truth. A play which imitated only the common occurrences of the world, would, upon the admirers of Palmerin and Guy of Warwick, have made little impression; he that wrote for such an audience was under the necessity of looking round for strange events and fabulous transactions, and that incredibility, by which maturer knowledge is offended, was the chief recommendation of writings, to unskilful curiosity.

Our author's plots are generally borrowed from novels; and it is reasonable to suppose that he chose the most popular, such as were read by many, and related by more; for his audience could not have followed him through the intricacies of the drama, had they not held the thread of the story in their hands.

The stories which we now find only in remoter authors, were in his time accessible and familiar. The fable of As you like it, which is supposed to be copied from Chaucer's Gamelyn, was a little pamphlet of those times; and old Mr. Cibber remembered the tale of Hamlet in plain English prose, which the criticks have now to seek in Saxo Grammaticus.

His English histories he took from English chronicles and English ballads; and as the ancient writers were made known to his countrymen by versions, they supplied him with new subjects; he dilated some of Plutarch's lives into plays, when they had been translated by North.

His plots, whether historical or fabulous, are always [pg 134] crouded with incidents, by which the attention of a rude people was more easily caught than by sentiment or argumentation; and such is the power of the marvellous, even over those who despise it, that every man finds his mind more strongly seized by the tragedies of Shakespeare than of any other writer; others please us by particular speeches, but he always makes us anxious for the event, and has perhaps excelled all but Homer in securing the first purpose of a writer, by exciting restless and unquenchable curiosity, and compelling him that reads his work to read it through.

The shows and bustle with which his plays abound have the same original. As knowledge advances, pleasure passes from the eye to the ear, but returns, as it declines, from the ear to the eye. Those to whom our author's labours were exhibited had more skill in pomps or processions than in poetical language, and perhaps wanted some visible and discriminated events, as comments on the dialogue. He knew how he should most please; and whether his practice is more agreeable to nature, or whether his example has prejudiced the nation, we still find that on our stage something must be done as well as said, and inactive declamation is very coldly heard, however musical or elegant, passionate or sublime.

Voltaire expresses his wonder, that our author's extravagancies are endured by a nation which has seen the tragedy of Cato. Let him be answered, that Addison speaks the language of poets, and Shakespeare, of men. We find in Cato innumerable beauties which enamour us of its author, but we see nothing that acquaints us with human sentiments or human actions; we place it with the fairest and the noblest progeny which judgment propagates by conjunction with learning; but Othello is the vigorous and vivacious offspring of observation impregnated by genius. Cato affords a splendid exhibition of artificial and fictitious manners, and delivers just and noble sentiments, in diction easy, elevated, and harmonious, but its hopes and fears communicate [pg 135] no vibration to the heart; the composition refers us only to the writer; we pronounce the name of Cato, but we think on Addison.

The work of a correct and regular writer is a garden accurately formed and diligently planted, varied with shades, and scented with flowers; the composition of Shakespeare is a forest, in which oaks extend their branches, and pines tower in the air, interspersed sometimes with weeds and brambles, and sometimes giving shelter to myrtles and to roses; filling the eye with awful pomp, and gratifying the mind with endless diversity. Other poets display cabinets of precious rarities, minutely finished, wrought into shape, and polished into brightness. Shakespeare opens a mine which contains gold and diamonds in unexhaustible plenty, though clouded by incrustations, debased by impurities, and mingled with a mass of meaner minerals.

It has been much disputed, whether Shakespeare owed his excellence to his own native force, or whether he had the common helps of scholastick education, the precepts of critical science, and the examples of ancient authors.

There has always prevailed a tradition, that Shakespeare wanted learning, that he had no regular education, nor much skill in the dead languages. Jonson, his friend, affirms that he had small Latin, and less Greek; who, besides that he had no imaginable temptation to falsehood, wrote at a time when the character and acquisitions of Shakespeare were known to multitudes. His evidence ought therefore to decide the controversy, unless some testimony of equal force could be opposed.

Some have imagined that they have discovered deep learning in many imitations of old writers; but the examples which I have known urged, were drawn from books translated in his time; or were such easy coincidences of thought, as will happen to all who consider the same subjects; or such remarks on life or axioms of morality as float in conversation, and are transmitted through the world in proverbial sentences.

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I have found it remarked that, in this important sentence, Go before, I'll follow, we read a translation of, I prae, sequar. I have been told that when Caliban, after a pleasing dream, says, I cry'd to sleep again, the author imitates Anacreon, who had, like every other man, the same wish on the same occasion.

There are a few passages which may pass for imitations, but so few, that the exception only confirms the rule; he obtained them from accidental quotations, or by oral communication, and as he used what he had, would have used more if he had obtained it.

The Comedy of Errors is confessedly taken from the MenÆchmi of Plautus; from the only play of Plautus which was then in English. What can be more probable, than that he who copied that, would have copied more, but that those which were not translated were inaccessible?

Whether he knew the modern languages is uncertain. That his plays have some French scenes proves but little; he might easily procure them to be written, and probably, even though he had known the language in the common degree, he could not have written it without assistance. In the story of Romeo and Juliet he is observed to have followed the English translation, where it deviates from the Italian; but this on the other part proves nothing against his knowledge of the original. He was to copy, not what he knew himself, but what was known to his audience.

It is most likely that he had learned Latin sufficiently to make him acquainted with construction, but that he never advanced to an easy perusal of the Roman authors. Concerning his skill in modern languages, I can find no sufficient ground of determination; but as no imitations of French or Italian authors have been discovered, though the Italian poetry was then in high esteem, I am inclined to believe that he read little more than English, and chose for his fables only such tales as he found translated.

That much knowledge is scattered over his works is [pg 137] very justly observed by Pope, but it is often such knowledge as books did not supply. He that will understand Shakespeare, must not be content to study him in the closet, he must look for his meaning sometimes among the sports of the field, and sometimes among the manufactures of the shop.

There is however proof enough that he was a very diligent reader, nor was our language then so indigent of books, but that he might very liberally indulge his curiosity without excursion into foreign literature. Many of the Roman authors were translated, and some of the Greek; the Reformation had filled the kingdom with theological learning; most of the topicks of human disquisition had found English writers; and poetry had been cultivated, not only with diligence, but success. This was a stock of knowledge sufficient for a mind so capable of appropriating and improving it.

But the greater part of his excellence was the product of his own genius. He found the English stage in a state of the utmost rudeness; no essays either in tragedy or comedy had appeared, from which it could be discovered to what degree of delight either one or other might be carried. Neither character nor dialogue were yet understood. Shakespeare may be truly said to have introduced them both amongst us, and in some of his happier scenes to have carried them both to the utmost height.

By what gradations of improvement he proceeded, is not easily known; for the chronology of his works is yet unsettled. Rowe is of opinion that perhaps we are not to look for his beginning, like those of other writers, in his least perfect works; art had so little, and nature so large a share in what he did, that for ought I know, says he, the performances of his youth, as they were the most vigorous, were the best. But the power of nature is only the power of using to any certain purpose the materials which diligence procures, or opportunity supplies. Nature gives no man knowledge, and when images are collected by study and experience, can only assist in combining or [pg 138] applying them. Shakespeare, however favoured by nature, could impart only what he had learned; and as he must increase his ideas, like other mortals, by gradual acquisition, he, like them, grew wiser as he grew older, could display life better, as he knew it more, and instruct with more efficacy, as he was himself more amply instructed.

There is a vigilance of observation and accuracy of distinction which books and precepts cannot confer; from this almost all original and native excellence proceeds. Shakespeare must have looked upon mankind with perspicacity, in the highest degree curious and attentive. Other writers borrow their characters from preceding writers, and diversify them only by the accidental appendages of present manners; the dress is a little varied, but the body is the same. Our author had both matter and form to provide; for, except the characters of Chaucer, to whom I think he is not much indebted, there were no writers in English, and perhaps not many in other modern languages, which shewed life in its native colours.

The contest about the original benevolence or malignity of man had not yet commenced. Speculation had not yet attempted to analyse the mind, to trace the passions to their sources, to unfold the seminal principles of vice and virtue, or sound the depths of the heart for the motives of action. All those enquiries, which from that time that human nature became the fashionable study have been made sometimes with nice discernment, but often with idle subtilty, were yet unattempted. The tales with which the infancy of learning was satisfied, exhibited only the superficial appearances of action, related the events, but omitted the causes, and were formed for such as delighted in wonders rather than in truth. Mankind was not then to be studied in the closet; he that would know the world, was under the necessity of gleaning his own remarks, by mingling as he could in its business and amusements.

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Boyle congratulated himself upon his high birth, because it favoured his curiosity, by facilitating his access. Shakespeare had no such advantage; he came to London a needy adventurer, and lived for a time by very mean employments. Many works of genius and learning have been performed in states of life that appear very little favourable to thought or to enquiry; so many, that he who considers them is inclined to think that he sees enterprize and perseverance predominating over all external agency, and bidding help and hindrance vanish before them. The genius of Shakespeare was not to be depressed by the weight of poverty, nor limited by the narrow conversation to which men in want are inevitably condemned; the incumbrances of his fortune were shaken from his mind, as dew-drops from a lion's mane.

Though he had so many difficulties to encounter, and so little assistance to surmount them, he has been able to obtain an exact knowledge of many modes of life, and many casts of native dispositions; to vary them with great multiplicity; to mark them by nice distinctions; and to shew them in full view by proper combinations. In this part of his performances he had none to imitate, but has himself been imitated by all succeeding writers; and it may be doubted, whether from all his successors more maxims of theoretical knowledge, or more rules of practical prudence, can be collected, than he alone has given to his country.

Nor was his attention confined to the actions of men; he was an exact surveyor of the inanimate world; his descriptions have always some peculiarities, gathered by contemplating things as they really exist. It may be observed that the oldest poets of many nations preserve their reputation, and that the following generations of wit, after a short celebrity, sink into oblivion. The first, whoever they be, must take their sentiments and descriptions immediately from knowledge; the resemblance is therefore just, their descriptions are verified by every eye, and their sentiments acknowledged by every breast. Those whom [pg 140] their fame invites to the same studies, copy partly them, and partly nature, till the books of one age gain such authority, as to stand in the place of nature to another, and imitation, always deviating a little, becomes at last capricious and casual. Shakespeare, whether life or nature be his subject, shews plainly that he has seen with his own eyes; he gives the image which he receives, not weakened or distorted by the intervention of any other mind; the ignorant feel his representations to be just, and the learned see that they are complete.

Perhaps it would not be easy to find any author, except Homer, who invented so much as Shakespeare, who so much advanced the studies which he cultivated, or effused so much novelty upon his age or country. The form, the characters, the language, and the shows of the English drama are his. He seems, says Dennis, to have been the very original of our English tragical harmony, that is, the harmony of blank verse, diversified often by dissyllable and trissyllable terminations. For the diversity distinguishes it from heroick harmony, and by bringing it nearer to common use makes it more proper to gain attention, and more fit for action and dialogue. Such verse we make when we are writing prose; we make such verse in common conversation.

I know not whether this praise is rigorously just. The dissyllable termination, which the critick rightly appropriates to the drama, is to be found, though, I think, not in Gorboduc, which is confessedly before our author, yet in Hieronymo, of which the date is not certain, but which there is reason to believe at least as old as his earliest plays. This however is certain, that he is the first who taught either tragedy or comedy to please, there being no theatrical piece of any older writer, of which the name is known, except to antiquaries and collectors of books, which are sought because they are scarce, and would not have been scarce, had they been much esteemed.

To him we must ascribe the praise, unless Spenser may divide it with him, of having first discovered to how much smoothness and harmony the English language could be [pg 141] softened. He has speeches, perhaps sometimes scenes, which have all the delicacy of Rowe, without his effeminacy. He endeavours indeed commonly to strike by the force and vigour of his dialogue, but he never executes his purpose better, than when he tries to sooth by softness.

Yet it must be at last confessed that as we owe every thing to him, he owes something to us; that, if much of his praise is paid by perception and judgment, much is likewise given by custom and veneration. We fix our eyes upon his graces, and turn them from his deformities, and endure in him what we should in another loath or despise. If we endured without praising, respect for the father of our drama might excuse us; but I have seen, in the book of some modern critick, a collection of anomalies which shew that he has corrupted language by every mode of depravation, but which his admirer has accumulated as a monument of honour.

He has scenes of undoubted and perpetual excellence, but perhaps not one play, which, if it were now exhibited as the work of a contemporary writer, would be heard to the conclusion. I am indeed far from thinking that his works were wrought to his own ideas of perfection; when they were such as would satisfy the audience, they satisfied the writer. It is seldom that authors, though more studious of fame than Shakespeare, rise much above the standard of their own age; to add a little to what is best will always be sufficient for present praise, and those who find themselves exalted into fame, are willing to credit their encomiasts, and to spare the labour of contending with themselves.

It does not appear that Shakespeare thought his works worthy of posterity, that he levied any ideal tribute upon future times, or had any further prospect than of present popularity and present profit. When his plays had been acted, his hope was at an end; he solicited no addition of honour from the reader. He therefore made no scruple to repeat the same jests in many dialogues, or to entangle different plots by the same knot of perplexity, which [pg 142] may be at least forgiven him, by those who recollect, that of Congreve's four comedies two are concluded by a marriage in a mask, by a deception which perhaps never happened, and which, whether likely or not, he did not invent.

So careless was this great poet of future fame, that, though he retired to ease and plenty, while he was yet little declined into the vale of years, before he could be disgusted with fatigue, or disabled by infirmity, he made no collection of his works, nor desired to rescue those that had been already published from the depravations that obscured them, or secure to the rest a better destiny, by giving them to the world in their genuine state.

Of the plays which bear the name of Shakespeare in the late editions, the greater part were not published till about seven years after his death, and the few which appeared in his life are apparently thrust into the world without the care of the author, and therefore probably without his knowledge.

Of all the publishers, clandestine or professed, their negligence and unskilfulness has by the late revisers been sufficiently shewn. The faults of all are indeed numerous and gross, and have not only corrupted many passages perhaps beyond recovery, but have brought others into suspicion, which are only obscured by obsolete phraseology, or by the writer's unskilfulness and affectation. To alter is more easy than to explain, and temerity is a more common quality than diligence. Those who saw that they must employ conjecture to a certain degree, were willing to indulge it a little further. Had the author published his own works, we should have sat quietly down to disentangle his intricacies, and clear his obscurities; but now we tear what we cannot loose, and eject what we happen not to understand.

The faults are more than could have happened without the concurrence of many causes. The stile of Shakespeare was in itself ungrammatical, perplexed, and obscure; his works were transcribed for the players by [pg 143] those who may be supposed to have seldom understood them; they were transmitted by copiers equally unskilful, who still multiplied errors; they were perhaps sometimes mutilated by the actors, for the sake of shortening the speeches; and were at last printed without correction of the press.

In this state they remained, not, as Dr. Warburton supposes, because they were unregarded, but because the editor's art was not yet applied to modern languages, and our ancestors were accustomed to so much negligence of English printers, that they could very patiently endure it. At last an edition was undertaken by Rowe; not because a poet was to be published by a poet, for Rowe seems to have thought very little on correction or explanation, but that our author's works might appear like those of his fraternity, with the appendages of a life and recommendatory preface. Rowe has been clamorously blamed for not performing what he did not undertake, and it is time that justice be done him, by confessing that though he seems to have had no thought of corruption beyond the printer's errors, yet he has made many emendations, if they were not made before, which his successors have received without acknowledgment, and which, if they had produced them, would have filled pages and pages with censures of the stupidity by which the faults were committed, with displays of the absurdities which they involved, with ostentatious expositions of the new reading, and self-congratulations on the happiness of discovering it.

As of the other editors I have preserved the prefaces, I have likewise borrowed the author's life from Rowe, though not written with much elegance or spirit; it relates however what is now to be known, and therefore deserves to pass through all succeeding publications.

The nation had been for many years content enough with Mr. Rowe's performance, when Mr. Pope made them acquainted with the true state of Shakespeare's text, shewed that it was extremely corrupt, and gave reason to hope that there were means of reforming it. He collated [pg 144] the old copies, which none had thought to examine before, and restored many lines to their integrity; but, by a very compendious criticism, he rejected whatever he disliked, and thought more of amputation than of cure.

I know not why he is commended by Dr. Warburton for distinguishing the genuine from the spurious plays. In this choice he exerted no judgment of his own; the plays which he received were given by Hemings and Condel, the first editors; and those which he rejected, though, according to the licentiousness of the press in those times, they were printed during Shakespeare's life, with his name, had been omitted by his friends, and were never added to his works before the edition of 1664, from which they were copied by the later printers.

This was a work which Pope seems to have thought unworthy of his abilities, being not able to suppress his contempt of the dull duty of an editor. He understood but half his undertaking. The duty of a collator is indeed dull, yet, like other tedious tasks, is very necessary; but an emendatory critick would ill discharge his duty, without qualities very different from dulness. In perusing a corrupted piece, he must have before him all possibilities of meaning, with all possibilities of expression. Such must be his comprehension of thought, and such his copiousness of language. Out of many readings possible, he must be able to select that which best suits with the state, opinions, and modes of language prevailing in every age, and with his author's particular cast of thought, and turn of expression. Such must be his knowledge, and such his taste. Conjectural criticism demands more than humanity possesses, and he that exercises it with most praise, has very frequent need of indulgence. Let us now be told no more of the dull duty of an editor.

Confidence is the common consequence of success. They whose excellence of any kind has been loudly celebrated, are ready to conclude that their powers are universal. Pope's edition fell below his own expectations, and he was so much offended, when he was found to have [pg 145] left any thing for others to do, that he passed the latter part of his life in a state of hostility with verbal criticism.

I have retained all his notes, that no fragment of so great a writer may be lost; his preface, valuable alike for elegance of composition and justness of remark, and containing a general criticism on his author, so extensive that little can be added, and so exact, that little can be disputed, every editor has an interest to suppress, but that every reader would demand its insertion.

Pope was succeeded by Theobald, a man of narrow comprehension and small acquisitions, with no native and intrinsick splendor of genius, with little of the artificial light of learning, but zealous for minute accuracy, and not negligent in pursuing it. He collated the ancient copies, and rectified many errors. A man so anxiously scrupulous might have been expected to do more, but what little he did was commonly right.

In his reports of copies and editions he is not to be trusted without examination. He speaks sometimes indefinitely of copies, when he has only one. In his enumeration of editions, he mentions the two first folios as of high, and the third folio as of middle authority; but the truth is that the first is equivalent to all others, and that the rest only deviate from it by the printer's negligence. Whoever has any of the folios has all, excepting those diversities which mere reiteration of editions will produce. I collated them all at the beginning, but afterwards used only the first.

Of his notes I have generally retained those which he retained himself in his second edition, except when they were confuted by subsequent annotators, or were too minute to merit preservation. I have sometimes adopted his restoration of a comma, without inserting the panegyrick in which he celebrated himself for his achievement. The exuberant excrescence of his diction I have often lopped, his triumphant exultations over Pope and Rowe I have sometimes suppressed, and his contemptible ostentation I have frequently concealed; but I have in some [pg 146] places shewn him as he would have shewn himself, for the reader's diversion, that the inflated emptiness of some notes may justify or excuse the contraction of the rest.

Theobald, thus weak and ignorant, thus mean and faithless, thus petulant and ostentatious, by the good luck of having Pope for his enemy, has escaped, and escaped alone, with reputation, from this undertaking. So willingly does the world support those who solicit favour, against those who command reverence; and so easily is he praised, whom no man can envy.

Our author fell then into the hands of Sir Thomas Hanmer, the Oxford editor, a man, in my opinion, eminently qualified by nature for such studies. He had, what is the first requisite to emendatory criticism, that intuition by which the poet's intention is immediately discovered, and that dexterity of intellect which dispatches its work by the easiest means. He had undoubtedly read much; his acquaintance with customs, opinions, and traditions, seems to have been large; and he is often learned without shew. He seldom passes what he does not understand, without an attempt to find or to make a meaning, and sometimes hastily makes what a little more attention would have found. He is solicitous to reduce to grammar what he could not be sure that his author intended to be grammatical. Shakespeare regarded more the series of ideas, than of words; and his language, not being designed for the reader's desk, was all that he desired it to be, if it conveyed his meaning to the audience.

Hanmer's care of the metre has been too violently censured. He found the measure reformed in so many passages, by the silent labours of some editors, with the silent acquiescence of the rest, that he thought himself allowed to extend a little further the licence which had already been carried so far without reprehension; and of his corrections in general, it must be confessed that they are often just, and made commonly with the least possible violation of the text.

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But, by inserting his emendations, whether invented or borrowed, into the page, without any notice of varying copies, he has appropriated the labour of his predecessors, and made his own edition of little authority. His confidence indeed, both in himself and others, was too great; he supposes all to be right that was done by Pope and Theobald; he seems not to suspect a critick of fallibility, and it was but reasonable that he should claim what he so liberally granted.

As he never writes without careful enquiry and diligent consideration, I have received all his notes, and believe that every reader will wish for more.

Of the last editor it is more difficult to speak. Respect is due to high place, tenderness to living reputation, and veneration to genius and learning; but he cannot be justly offended at that liberty of which he has himself so frequently given an example, nor very solicitous what is thought of notes, which he ought never to have considered as part of his serious employments, and which, I suppose, since the ardour of composition is remitted, he no longer numbers among his happy effusions.

The original and predominant error of his commentary is acquiescence in his first thoughts; that precipitation which is produced by consciousness of quick discernment; and that confidence which presumes to do, by surveying the surface, what labour only can perform, by penetrating the bottom. His notes exhibit sometimes perverse interpretations, and sometimes improbable conjectures; he at one time gives the author more profundity of meaning than the sentence admits, and at another discovers absurdities, where the sense is plain to every other reader. But his emendations are likewise often happy and just; and his interpretation of obscure passages learned and sagacious.

Of his notes, I have commonly rejected those against which the general voice of the publick has exclaimed, or which their own incongruity immediately condemns, and which, I suppose, the author himself would desire to [pg 148] be forgotten. Of the rest, to part I have given the highest approbation, by inserting the offered reading in the text; part I have left to the judgment of the reader, as doubtful, though specious; and part I have censured without reserve, but I am sure without bitterness of malice, and, I hope, without wantonness of insult.

It is no pleasure to me, in revising my volumes, to observe how much paper is wasted in confutation. Whoever considers the revolutions of learning, and the various questions of greater or less importance, upon which wit and reason have exercised their powers, must lament the unsuccessfulness of enquiry, and the slow advances of truth, when he reflects, that great part of the labour of every writer is only the destruction of those that went before him. The first care of the builder of a new system, is to demolish the fabricks which are standing. The chief desire of him that comments an author, is to shew how much other commentators have corrupted and obscured him. The opinions prevalent in one age, as truths above the reach of controversy, are confuted and rejected in another, and rise again to reception in remoter times. Thus the human mind is kept in motion without progress. Thus sometimes truth and error, and sometimes contrarieties of error, take each other's place by reciprocal invasion. The tide of seeming knowledge which is poured over one generation, retires and leaves another naked and barren; the sudden meteors of intelligence, which for a while appear to shoot their beams into the regions of obscurity, on a sudden withdraw their lustre, and leave mortals again to grope their way.

These elevations and depressions of renown, and the contradictions to which all improvers of knowledge must for ever be exposed, since they are not escaped by the highest and brightest of mankind, may surely be endured with patience by criticks and annotators, who can rank themselves but as the satellites of their authors. How canst thou beg for life, says Homer's hero to his captive, [pg 149] when thou knowest that thou art now to suffer only what must another day be suffered by Achilles?

Dr. Warburton had a name sufficient to confer celebrity on those who could exalt themselves into antagonists, and his notes have raised a clamour too loud to be distinct. His chief assailants are the authors of The canons of criticism, and of The revisal of Shakespeare's text; of whom one ridicules his errors with airy petulance, suitable enough to the levity of the controversy; the other attacks them with gloomy malignity, as if he were dragging to justice an assassin or incendiary. The one stings like a fly, sucks a little blood, takes a gay flutter, and returns for more; the other bites like a viper, and would be glad to leave inflammations and gangrene behind him. When I think on one, with his confederates, I remember the danger of Coriolanus, who was afraid that girls with spits, and boys with stones, should slay him in puny battle; when the other crosses my imagination, I remember the prodigy in Macbeth:

A falcon tow'ring in his pride of place,
Was by a mousing owl hawk'd at and kill'd.

Let me however do them justice. One is a wit, and one a scholar. They have both shewn acuteness sufficient in the discovery of faults, and have both advanced some probable interpretations of obscure passages; but when they aspire to conjecture and emendation, it appears how falsely we all estimate our own abilities, and the little which they have been able to perform might have taught them more candour to the endeavours of others.

Before Dr. Warburton's edition, Critical observations on Shakespeare had been published by Mr. Upton, a man skilled in languages, and acquainted with books, but who seems to have had no great vigour of genius or nicety of taste. Many of his explanations are curious and useful, but he likewise, though he professed to oppose the licentious confidence of editors, and adhere to the old copies, is unable to restrain the rage of emendation, [pg 150] though his ardour is ill seconded by his skill. Every cold empirick, when his heart is expanded by a successful experiment, swells into a theorist, and the laborious collator at some unlucky moment frolicks in conjecture.

Critical, historical, and explanatory notes have been likewise published upon Shakespeare by Dr. Grey, whose diligent perusal of the old English writers has enabled him to make some useful observations. What he undertook he has well enough performed, but as he neither attempts judicial nor emendatory criticism, he employs rather his memory than his sagacity. It were to be wished that all would endeavour to imitate his modesty, who have not been able to surpass his knowledge.

I can say with great sincerity of all my predecessors, what I hope will hereafter be said of me, that not one has left Shakespeare without improvement, nor is there one to whom I have not been indebted for assistance and information. Whatever I have taken from them, it was my intention to refer to its original author, and it is certain, that what I have not given to another, I believed when I wrote it to be my own. In some perhaps I have been anticipated; but if I am ever found to encroach upon the remarks of any other commentator, I am willing that the honour, be it more or less, should be transferred to the first claimant, for his right, and his alone, stands above dispute; the second can prove his pretensions only to himself, nor can himself always distinguish invention, with sufficient certainty, from recollection.

They have all been treated by me with candour, which they have not been careful of observing to one another. It is not easy to discover from what cause the acrimony of a scholiast can naturally proceed. The subjects to be discussed by him are of very small importance; they involve neither property nor liberty; nor favour the interest of sect or party. The various readings of copies, and different interpretations of a passage, seem to be questions that might exercise the wit, without engaging the passions. But whether it be that small things make [pg 151] mean men proud, and vanity catches small occasions; or that all contrariety of opinion, even in those that can defend it no longer, makes proud men angry; there is often found in commentaries a spontaneous strain of invective and contempt, more eager and venomous than is vented by the most furious controvertist in politicks against those whom he is hired to defame.

Perhaps the lightness of the matter may conduce to the vehemence of the agency; when the truth to be investigated is so near to inexistence, as to escape attention, its bulk is to be enlarged by rage and exclamation: that to which all would be indifferent in its original state, may attract notice when the fate of a name is appended to it. A commentator has indeed great temptations to supply by turbulence what he wants of dignity, to beat his little gold to a spacious surface, to work that to foam which no art or diligence can exalt to spirit.

The notes which I have borrowed or written are either illustrative, by which difficulties are explained; or judicial, by which faults and beauties are remarked; or emendatory, by which depravations are corrected.

The explanations transcribed from others, if I do not subjoin any other interpretation, I suppose commonly to be right, at least I intend by acquiescence to confess that I have nothing better to propose.

After the labours of all the editors, I found many passages which appeared to me likely to obstruct the greater number of readers, and thought it my duty to facilitate their passage. It is impossible for an expositor not to write too little for some, and too much for others. He can only judge what is necessary by his own experience; and how long soever he may deliberate, will at last explain many lines which the learned will think impossible to be mistaken, and omit many for which the ignorant will want his help. These are censures merely relative, and must be quietly endured. I have endeavoured to be neither superfluously copious, nor scrupulously reserved, and hope that I have made my author's [pg 152] meaning accessible to many who before were frighted from perusing him, and contributed something to the publick, by diffusing innocent and rational pleasure.

The complete explanation of an author not systematick and consequential, but desultory and vagrant, abounding in casual allusions and light hints, is not to be expected from any single scholiast. All personal reflections, when names are suppressed, must be in a few years irrecoverably obliterated; and customs, too minute to attract the notice of law, such as modes of dress, formalities of conversation, rules of visits, disposition of furniture, and practices of ceremony, which naturally find places in familiar dialogue, are so fugitive and unsubstantial, that they are not easily retained or recovered. What can be known will be collected by chance, from the recesses of obscure and obsolete papers, perused commonly with some other view. Of this knowledge every man has some, and none has much; but when an author has engaged the publick attention, those who can add any thing to his illustration, communicate their discoveries, and time produces what had eluded diligence.

To time I have been obliged to resign many passages, which, though I did not understand them, will perhaps hereafter be explained, having, I hope, illustrated some, which others have neglected or mistaken, sometimes by short remarks, or marginal directions, such as every editor has added at his will, and often by comments more laborious than the matter will seem to deserve; but that which is most difficult is not always most important, and to an editor nothing is a trifle by which his author is obscured.

The poetical beauties or defects I have not been very diligent to observe. Some plays have more, and some fewer judicial observations, not in proportion to their difference of merit, but because I gave this part of my design to chance and to caprice. The reader, I believe, is seldom pleased to find his opinion anticipated; it is natural to delight more in what we find or make, than in [pg 153] what we receive. Judgment, like other faculties, is improved by practice, and its advancement is hindered by submission to dictatorial decisions, as the memory grows torpid by the use of a table-book. Some initiation is however necessary; of all skill, part is infused by precept, and part is obtained by habit; I have therefore shewn so much as may enable the candidate of criticism to discover the rest.

To the end of most plays I have added short strictures, containing a general censure of faults, or praise of excellence; in which I know not how much I have concurred with the current opinion; but I have not, by any affectation of singularity, deviated from it. Nothing is minutely and particularly examined, and therefore it is to be supposed that in the plays which are condemned there is much to be praised, and in these which are praised much to be condemned.

The part of criticism in which the whole succession of editors has laboured with the greatest diligence, which has occasioned the most arrogant ostentation, and excited the keenest acrimony, is the emendation of corrupted passages, to which the publick attention having been first drawn by the violence of the contention between Pope and Theobald, has been continued by the persecution, which, with a kind of conspiracy, has been since raised against all the publishers of Shakespeare.

That many passages have passed in a state of depravation through all the editions is indubitably certain; of these the restoration is only to be attempted by collation of copies, or sagacity of conjecture. The collator's province is safe and easy, the conjecturer's perilous and difficult. Yet as the greater part of the plays are extant only in one copy, the peril must not be avoided, nor the difficulty refused.

Of the readings which this emulation of amendment has hitherto produced, some from the labours of every publisher I have advanced into the text; those are to be considered as in my opinion sufficiently supported; some [pg 154] I have rejected without mention, as evidently erroneous; some I have left in the notes without censure or approbation, as resting in equipoise between objection and defence; and some, which seemed specious but not right, I have inserted with a subsequent animadversion.

Having classed the observations of others, I was at last to try what I could substitute for their mistakes, and how I could supply their omissions. I collated such copies as I could procure, and wished for more, but have not found the collectors of these rarities very communicative. Of the editions which chance or kindness put into my hands I have given an enumeration, that I may not be blamed for neglecting what I had not the power to do.

By examining the old copies, I soon found that the later publishers, with all their boasts of diligence, suffered many passages to stand unauthorized, and contented themselves with Rowe's regulation of the text, even where they knew it to be arbitrary, and with a little consideration might have found it to be wrong. Some of these alterations are only the ejection of a word for one that appeared to him more elegant or more intelligible. These corruptions I have often silently rectified; for the history of our language, and the true force of our words, can only be preserved, by keeping the text of authors free from adulteration. Others, and those very frequent, smoothed the cadence, or regulated the measure; on these I have not exercised the same rigour; if only a word was transposed, or a particle inserted or omitted, I have sometimes suffered the line to stand; for the inconstancy of the copies is such, as that some liberties may be easily permitted. But this practice I have not suffered to proceed far, having restored the primitive diction wherever it could for any reason be preferred.

The emendations which comparison of copies supplied, I have inserted in the text; sometimes, where the improvement was slight, without notice, and sometimes with an account of the reasons of the change.

Conjecture, though it be sometimes unavoidable, I have [pg 155] not wantonly nor licentiously indulged. It has been my settled principle, that the reading of the ancient books is probably true, and therefore is not to be disturbed for the sake of elegance, perspicuity, or mere improvement of the sense. For though much credit is not due to the fidelity, nor any to the judgment of the first publishers, yet they who had the copy before their eyes were more likely to read it right, than we who read it only by imagination. But it is evident that they have often made strange mistakes by ignorance or negligence, and that therefore something may be properly attempted by criticism, keeping the middle way between presumption and timidity.

Such criticism I have attempted to practise, and, where any passage appeared inextricably perplexed, have endeavoured to discover how it may be recalled to sense, with least violence. But my first labour is, always to turn the old text on every side, and try if there be any interstice, through which light can find its way; nor would Huetius himself condemn me, as refusing the trouble of research, for the ambition of alteration. In this modest industry I have not been unsuccessful. I have rescued many lines from the violations of temerity, and secured many scenes from the inroads of correction. I have adopted the Roman sentiment, that it is more honourable to save a citizen, than to kill an enemy, and have been more careful to protect than to attack.

I have preserved the common distribution of the plays into acts, though I believe it to be in almost all the plays void of authority. Some of those which are divided in the later editions have no division in the first folio, and some that are divided in the folio have no division in the preceding copies. The settled mode of the theatre requires four intervals in the play, but few, if any, of our author's compositions can be properly distributed in that manner. An act is so much of the drama as passes without intervention of time, or change [pg 156] of place. A pause makes a new act. In every real, and therefore in every imitative action, the intervals may be more or fewer, the restriction of five acts being accidental and arbitrary. This Shakespeare knew, and this he practised; his plays were written, and at first printed in one unbroken continuity, and ought now to be exhibited with short pauses, interposed as often as the scene is changed, or any considerable time is required to pass. This method would at once quell a thousand absurdities.

In restoring the author's works to their integrity, I have considered the punctuation as wholly in my power; for what could be their care of colons and commas, who corrupted words and sentences. Whatever could be done by adjusting points is therefore silently performed, in some plays with much diligence, in others with less; it is hard to keep a busy eye steadily fixed upon evanescent atoms, or a discursive mind upon evanescent truth.

The same liberty has been taken with a few particles, or other words of slight effect. I have sometimes inserted or omitted them without notice. I have done that sometimes which the other editors have done always, and which indeed the state of the text may sufficiently justify.

The greater part of readers, instead of blaming us for passing trifles, will wonder that on mere trifles so much labour is expended, with such importance of debate, and such solemnity of diction. To these I answer with confidence, that they are judging of an art which they do not understand; yet cannot much reproach them with their ignorance, nor promise that they would become in general, by learning criticism, more useful, happier, or wiser.

As I practised conjecture more, I learned to trust it less; and after I had printed a few plays, resolved to insert none of my own readings in the text. Upon this caution I now congratulate myself, for every day encreases my doubt of my emendations.

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Since I have confined my imagination to the margin, it must not be considered as very reprehensible, if I have suffered it to play some freaks in its own dominion. There is no danger in conjecture, if it be proposed as conjecture; and while the text remains uninjured, those changes may be safely offered, which are not considered even by him that offers them as necessary or safe.

If my readings are of little value, they have not been ostentatiously displayed or importunately obtruded. I could have written longer notes, for the art of writing notes is not of difficult attainment. The work is performed, first by railing at the stupidity, negligence, ignorance, and asinine tastelessness of the former editors, and shewing, from all that goes before and all that follows, the inelegance and absurdity of the old reading; then by proposing something, which to superficial readers would seem specious, but which the editor rejects with indignation; then by producing the true reading, with a long paraphrase, and concluding with loud acclamations on the discovery, and a sober wish for the advancement and prosperity of genuine criticism.

All this may be done, and perhaps done sometimes without impropriety. But I have always suspected that the reading is right, which requires many words to prove it wrong; and the emendation wrong, that cannot without so much labour appear to be right. The justness of a happy restoration strikes at once, and the moral precept may be well applied to criticism, quod dubitas ne feceris.

To dread the shore which he sees spread with wrecks, is natural to the sailor. I had before my eye so many critical adventures ended in miscarriage, that caution was forced upon me. I encountered in every page wit struggling with its own sophistry, and learning confused by the multiplicity of its views. I was forced to censure those whom I admired, and could not but reflect, while I was dispossessing their emendations, how soon the same fate might happen to my own, and how [pg 158] many of the readings which I have corrected may be by some other editor defended and established.

Criticks I saw, that other's names efface,
And fix their own, with labour, in the place;
Their own, like others, soon their place resign'd,
Or disappear'd, and left the first behind.—Pope.

That a conjectural critick should often be mistaken, cannot be wonderful, either to others or himself, if it be considered, that in his art there is no system, no principal and axiomatical truth that regulates subordinate positions. His chance of error is renewed at every attempt; an oblique view of the passage, a slight misapprehension of a phrase, a casual inattention to the parts connected, is sufficient to make him not only fail, but fail ridiculously; and when he succeeds best, he produces perhaps but one reading of many probable, and he that suggests another will always be able to dispute his claims.

It is an unhappy state in which danger is hid under pleasure. The allurements of emendation are scarcely resistible. Conjecture has all the joy and all the pride of invention, and he that has once started a happy change, is too much delighted to consider what objections may rise against it.

Yet conjectural criticism has been of great use in the learned world; nor is it my intention to depreciate a study that has exercised so many mighty minds, from the revival of learning to our own age, from the bishop of Aleria to English Bentley. The criticks on ancient authors have, in the exercise of their sagacity, many assistances, which the editor of Shakespeare is condemned to want. They are employed upon grammatical and settled languages, whose construction contributes so much to perspicuity, that Homer has fewer passages unintelligible than Chaucer. The words have not only a known regimen, but invariable quantities, which direct and confine the choice. There are commonly more manuscripts than one; and they do not often conspire [pg 159] in the same mistakes. Yet Scaliger could confess to Salmasius how little satisfaction his emendations gave him. Illudunt nobis conjecturÆ nostrÆ, quarum nos pudet, posteaquam in meliores codices incidimus. And Lipsius could complain that criticks were making faults by trying to remove them, Ut olim vitiis, ita nunc remediis laboratur. And indeed, when mere conjecture is to be used, the emendations of Scaliger and Lipsius, notwithstanding their wonderful sagacity and erudition, are often vague and disputable, like mine or Theobald's.

Perhaps I may not be more censured for doing wrong, than for doing little; for raising in the publick expectations, which at last I have not answered. The expectation of ignorance is indefinite, and that of knowledge is often tyrannical. It is hard to satisfy those who know not what to demand, or those who demand by design what they think impossible to be done. I have indeed disappointed no opinion more than my own; yet I have endeavoured to perform my task with no slight solicitude. Not a single passage in the whole work has appeared to me corrupt, which I have not attempted to restore; or obscure, which I have not endeavoured to illustrate. In many I have failed like others; and from many, after all my efforts, I have retreated, and confessed the repulse. I have not passed over, with affected superiority, what is equally difficult to the reader and to myself, but where I could not instruct him, have owned my ignorance. I might easily have accumulated a mass of seeming learning upon easy scenes; but it ought not to be imputed to negligence, that, where nothing was necessary, nothing has been done, or that, where others have said enough, I have said no more.

Notes are often necessary, but they are necessary evils. Let him that is yet unacquainted with the powers of Shakespeare, and who desires to feel the highest pleasure that the drama can give, read every play, from the first scene to the last, with utter [pg 160] negligence of all his commentators. When his fancy is once on the wing, let it not stoop at correction or explanation. When his attention is strongly engaged, let it disdain alike to turn aside to the name of Theobald and of Pope. Let him read on through brightness and obscurity, through integrity and corruption; let him preserve his comprehension of the dialogue and his interest in the fable. And when the pleasures of novelty have ceased, let him attempt exactness, and read the commentators.

Particular passages are cleared by notes, but the general effect of the work is weakened. The mind is refrigerated by interruption; the thoughts are diverted from the principal subject; the reader is weary, he suspects not why; and at last throws away the book which he has too diligently studied.

Parts are not to be examined till the whole has been surveyed; there is a kind of intellectual remoteness necessary for the comprehension of any great work in its full design and in its true proportions; a close approach shews the smaller niceties, but the beauty of the whole is discerned no longer.

It is not very grateful to consider how little the succession of editors has added to this author's power of pleasing. He was read, admired, studied, and imitated, while he was yet deformed with all the improprieties which ignorance and neglect could accumulate upon him; while the reading was yet not rectified, nor his allusions understood; yet then did Dryden pronounce, “that Shakespeare was the man, who, of all modern and perhaps ancient poets, had the largest and most comprehensive soul.” All the images of nature were still present to him, and he drew them not laboriously, but luckily: when he describes any thing, you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learned: he needed not the spectacles of books to read nature; he looked inwards, and found her there. I [pg 161] cannot say he is every where alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat and insipid; his comick wit degenerating into clenches, his serious swelling into bombast. But he is always great, when some great occasion is presented to him: no man can say, he ever had a fit subject for his wit, and did not then raise himself as high above the rest of poets,

Quantum lenta solent inter viburna cupressi.

It is to be lamented that such a writer should want a commentary; that his language should become obsolete, or his sentiments obscure. But it is vain to carry wishes beyond the condition of human things; that which must happen to all, has happened to Shakespeare, by accident and time: and more than has been suffered by any other writer since the use of types, has been suffered by him through his own negligence of fame, or perhaps by that superiority of mind, which despised its own performances, when it compared them with its powers, and judged those works unworthy to be preserved, which the criticks of following ages were to contend for the fame of restoring and explaining.

Among these candidates of inferior fame, I am now to stand the judgment of the publick; and wish that I could confidently produce my commentary as equal to the encouragement which I have had the honour of receiving. Every work of this kind is by its nature deficient, and I should feel little solicitude about the sentence, were it to be pronounced only by the skilful and the learned.

                                                                                                                                                                                                                                                                                                           

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