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with each other. It is an acknowledged fact, that Ben Jonson was introduced upon the stage, and his first works encouraged, by Shakspeare. And after his death, that author writes, To the memory of his beloved William Shakspeare, which shows as if the friendship had continued through 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 ranked with him; and challenges the names of Sophocles, Euripides, and Eschylus, 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 should 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 loved 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 Jonson might indeed be sparing in his commendations (though 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, though the violence and ill-breeding of their followers and flatterers were enough to give rise to the contrary report. I 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 human, though their bodies and tails are wild beasts and serpents.
As I believe that what I have mentioned gave rise to the opinion of Shakspeare'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 in almost 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 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 Jonson (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 Shakspeare'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 Shakspeare only, but Aristotle
• Enter three Witches solus.] This blunder appears to be of Mr. Pope's own invention. It is not to be found in any one of the four folio copies of Macbeth, and there is no quarto edition of it extant. STEEVENS.
or Cicero, had their works undergone the same fate, might have appeared 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 published 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 man. gled, that it is plain there either was no corrector to the press at all, or one totally illiterate. If any were supervised by himself, I should fancy The Two Parts of Henry the Fourth, 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 subse quent 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 published without his knowledge or consent, and even before it was acted, so late as seven or eight years 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 occasioned 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, Heminge 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 quartos.
First, because the additions of trifling and bombast passages are in this edition far more numerous. For whatever had been added, since those quartos, 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 would speak no more than is set down for them. (Act III. sc. ii.) 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 play-house, 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 Procrustes) either lopping, or stretching an author, to make him just fit for their stage.
This edition is said to be printed from the origi nal copies; I believe they meant those which had
lain ever since the author's days in the play-house, and had from time to time been cut, or added to, arbitrarily. It appears that this edition, as well as the quartos, 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 very names are through carelessness set down instead of the Persona Dramatis; and in others the notes of direction to the propertymen for their moveables, and to the players for their entries, are inserted into the text through the ignorance of the transcribers.
The plays not having been before so much as distinguished by Acts and Scenes, they are in this edition divided according as they played 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 entirely, and others transposed; from whence invincible obscurities have arisen, past the guess of any commentator to clear up, but just where the accidental glimpse of an old edition enlightens us.
Much Ado about Nothing, Act II: "Enter Prince Leonato, Claudio, and Jack Wilson," instead of Balthasar. And in Act IV. Cowley and Kemp constantly through a whole scene. Edit. fol. of 1623, and 1632. POPE.
• Such as
"My queen is murder'd! Ring the little bell."
"His nose grew as sharp as a pen, and a table of green fields;" which last words are not in the quarto. POPE.
There is no such line in any play of Shakspeare, as that quoted above by Mr. Pope. MALONE.