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ed. When the diction is entangled, it will be cleared by a paraphrase or interpretation. When che sense is broken by the suppression of part of the sentiment in pleasantry or passion, the connexion will be supplied. When any forgotten custom is hinted, care will be taken to retrieve and explain it. The meaning assigned to doubtful words will be supported by the authorities of other writers, or by parallel passages of Shakespeare himself.
The observation of faults and beauties is one of the duties of an annotator, which some of Shakea Speare's editors have attempted, and some have ne. glected. For this part of his talk, and for this only, was Mr. Pope eminently and indisputably qualified ; nor has Dr. Warburton followed him with less di. ligence or less success. But I have never observed that mankind was much delighted or improved by their asterisks, commas, or double commas; of which the only effect is, that they preclude the pleasure of judging for ourselves, teach the young and ignorant to decide without principles; defeat curiosity and discernment, by leaving them less to discover; and at last Thew the opinion of the cria tick, without the reasons on which it was founded, and without affording any light by which it may be · examined.
The editor, though he may less delight his own vanity, will probably please his reader more, by supposing him equally able with himself to judge of beauties and faults, which require no previous acquisition of remote knowledge. A description of the obvious scenes of nature, a representation of general life, a sentiment of reflection or experience,
a deduction of conclusive arguments, a forcible eruption of effervescent passion, are to be considered as proportionate to common apprehension, unamised by critical officiousness; since, to convince them, nothing more is requisite than acquaintance with the general state of the world, and those faculties which he must almost bring with him who would read Shakespeare.
But when the beauty arises from some adaptation of the sentiment to customs worn out of use, to opinions not universally prevalent, or to any accidental or minute particularity, which cannot be supplied by common understanding, or common obfervation, it is the duty of a commentator to lend his allistance.
The notice of beauties and faults thus limited, will make no distinct part of the design, being reducible to the explanation of obscure passages.
The editor does not however intend to preclude himself from the comparison of Shakespeare's fentiments or expression with those of ancient or modern auchors, or from the display of any beauty not obvious to the students of poetry; for as he hopes to leave his author better understood, he wishes likewise to procure him more rational approbation.
The foriner editors have affected to light their predecessors : but in this edition all that is valuable will be adopted from every commentator, that po. sterity may consider it as including all the rest, and exhibiting whatever is hitherto known of the great father of the English drama.
S HA KE S P E A R E.
Published in the Year 1768.
THAT praises are without reason lavished on
1 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 confolatory expedients, are willing to hope from posterity what the present age refuses, and Aatter 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 adınire indiscriminately whatever has been long preserved, without confidering that time has sometimes co-operated with chance; all perhaps are more willing to honour
past past than present excellence; and the mind con. templates genius through the shades of age, as the ' eye surveys the sun through artificial opacity. The great contention of criticisin 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 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 possessed they have often examined and compared; and if they persist to value the poffeffion, 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 styled excellent till it has been compared with other works of the same kind. Demonstration immediately difplays its power, and has nothing to hope or fear from the Aux 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 subGifted 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 established fame 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 defire of pleasure, and are therefore praised only as VOL. IX.