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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, although they concerned themselves only in the first of these three parts of criticism, the refloring 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 critick: and to each of them, at different times, I communicated a great number of observations, which they managed, as they saw fit, to 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 fequeftering 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 critick, I could not so easily forgive him for trafficking with my papers without my knowledge; and, when that project failed, for employing a number of my conjectures in his edition against my express desire not to have that honour done unto me. I

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 riiquing, to every observer, the imputation of want. ing 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 Shakespeare's language, to understand what was right; nor had he either common judgment to see, or critical fagacity to amend, what was manifestly faulty. Hence he genesally exerts his conjectural talent in the wrong place : he

tampers 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 fo remote, is ftill more difficult to conceive. For whatever parts he might have either of genius or crudition, he was absolutely ignorant of the art of criticism, as well as of 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 fagacity, in what affects the fenfe, his conjectures are generally absurd and extravagant, and violating every rule of criticism. Though, 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, fynonymous or similar, he made them his own; and so became a critick 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: though, 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 infertion or omission of a set of harmless unconcerning expletives, makes up the gross body of his innocent corrections. And fo, in spite of that extreme negligence in numbers, which distinguishes the first dramatick 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 was not always fcrupulous 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 conjeture.

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 ShakSpeare (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 critick 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 fervice, it was our Shakespeare; 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 fort 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 critick, whose greatest 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 juft 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-fetched or quaint allusions.

1. This licentious use of words is almost peculiar to the language of Shakespeare. To common terms he hath affixed meanings of his own, unauthorized by use, and not to be justified by analogy. And this liberty he hath taken with the nobleft 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 criticks (to whom Shakespeare'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, 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 majliff, there is a meaning, there is a lively expression, and, may I say, more humanity than many times in the tragical flights of Shakespeare. 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 fuperiority 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 ex.treme; and regarded Shakespeare'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 fead; which, in many cafes, could not be done without

Thewing shewing the peculiar sense of the terms, and explaining the causes which led the poet to so perverse an use of them. I had it once, indeed, in my design, to give a general alphabetick glossary of those 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 delign. The publick taste was in its infancy; 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 criticks 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 fingle term, but from the unnatural arrangement of a whole sentence. And they rifqued nothing by their silence. For Shakespeare 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 critick 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 fo, the explanation of them has this further advantage, that, in clearing the obscurity, you frequently discover Tome latent conceit not unworthy of his genius.

III. The third and last fort 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 criticks; as if nothing were worth remarking, that did not, at the same time, deserve to be reproved. Whereas the publick 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 it is ever seen, that half a dozen voices of credit give the lead : and if the public chance to be in good humour, or the author much in their favour, the people are sure to follow. Hence it is that the true critick hath To frequently attached


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