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P R E F A C E.

TH

THAT praises are without reason lavished on

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 pofterity what the present age refuses, and flatter themselves that the regard which is yet denied by envy, will be at last beitowed 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 thirdes 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 au

thour

thour 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 abfolute 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 poffeffed they have often examined and compared, and if they persift 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 productions of genius, nothing can be ftiled 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 taised, it might be with certainty determined that it was round or square, but whether it was spa cious 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,

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intelligence, but by remarking, that pation after nafion, 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 subfifted arises therefore not from any credulous confia dence 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 confidered, and what is most considered is best under tood.

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 established fame and prescriptive veneration. He has long outlived bis 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 obscore 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 pesished; 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

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is

is obtained ; yet, thus unaslisted by interest or parfion, 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 transmision.

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 a-while, by that novelty of which the common fariety of life sends us all in quest; but the pleasures of sudden wonder are foon exhausted, and the mind can only repose on the stability of truth.

Shakespeare is above all writers, at least above all modern writirs, the

puet

of holds up to his readers a faithful mirrour 'of manners and of life. His characters are not modified by the costoms of particular places, unpractised by the rest of the world ; by the peculiarities of studies òr profeflions, which can operate but upon small nus: bers; or by the accidents of transient fashions or temporary opinions : they are the genuine pro

geny

nature; the

poet that

geny of common humanity, such as the 'world will always supply, and observation will always find. His persons acl and speak by the influence of those general paffions 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 Sbakespeare 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 fyftem of civil and æconomical prudence. Yet his real power is not shown in the fplendour of particular paffages, but by the progress of his fable, and, the tenour of his dialogue; and he that tries to recommend him by select quotations, will succeed like the pedant in Hierocles, who, when he offered his house to fale, carried a brick in his pocket as a specimen.

It will not easily be imagined how much Shakeseare excells in accommodating his sentiments to real life, but by comparing him with other authours. 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,

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