« السابقةمتابعة »
It does not appear, that Shakespeare thought his works worthy of posterity, that he levied any ideal tribuce upon future cimes, or had any further profpeat, 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 fame knot of perplexity, which 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 authour, and there. fore probably without his knowledge.
Of all the publishers, clandestine or profeffed, their negligence and unskilfulness has by the late revilers been fufficiently lown. The faults of ali are indeed numerous and gross, and have not only corrupted many passages perhaps beyond recovery, but have brought others into suspicion, which are only oblcured 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 authour published his own works, we should have fat quietly down to disentangle his intricacies, and clear his obícurities; but now we tear what we cannot loole, 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 those who may be supposed to have seldom understood them; they were transmitted by copiers equally unskilful, who still multiplied errours; they were perhaps sometimes mutilated by the actors, for the sake of shortening the speeches; and were at laft printed without correction of the press.
In this state they remained, not as Dr. Warburton suppoles, 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 Rorve; 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 authour'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 confefling, that though he seems to have had no thought of corruption beyond the printer's errours, yet he has made many emendations, if they were not made before, which his fucceffors 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.
Of Rowe, as of all the editors, I have preserved the preface, and have likewise retained the authour's life, 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 pubJications.
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 Shakespear's
text, thewed that it was extremely corrupt, and gave reason to hope that there were means of reforming it. He collaced the old copies, which none had thought to examine before, and restored many line's 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. Warburlon for distinguishing the genuine from the spuri. ous plays. In this choice he exerted no judgement of his own; the plays which he received, were given by Tlemings 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 Shakespear'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 dircharge his duty, without qualities very different from dulness. In perusing a corrupied piece, he must have before him all poflibilities of meaning, with all poflibilities of expression. Such must be his comprehension of thought, and such his copiouiness of language. Out of many readings possible, he must be able to
select that which belt suits with the state, opinions, and modes of language prevailing in every age, and with his authour's particular cast of thought, and turn of expression. Such must be his knowledge, and such his taste. Conjectural criticismi demands more than humanity poffeffes, and he that exercises ic 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 left any thing for others to do, that he past the latter part of his life in a state of hoftility 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 authour, so extensive that little can be added, and so exact, that little can be disputed, every editor has an interest to suppreis, but that every reader would demand ics insertion.
Pope was succeeded by Theobald, a iman of narrow comprehension and small acquisitions, with no nacive and intrinsick splendour of genius, with little of the artificial light of learning, but zealous for minute accuracy, and not negligent in pursuing it. He col