-When the bold running

From what they fear, yet know not what they fear. (2) But float upon a wild and violent sea Each way, and move.

That he who floats upon a rough sea must move, is evident, too evident for Shakspeare so emphatically to assert. The line therefore is to be written thus:

Each way, and move-I'll take my leave of you.

Rosse is about to proceed, but finding himself overpowered by his tenderness, breaks off abruptly, for which he makes a short apology

Bestride our downfaln birthdom.

The allusion is to a man from whom something valuable is about to be taken by violence, and who, that he may defend it without encumbrance, lays it on the ground and stands over it with his weapon in his hand. Our birthdom, or birthright, says he, lies on the ground, let us, like men who are to fight for what is dearest to them, not abandon it, but stand over it and defend it. This is a strong picture of obstinate resolution.

Birthdom for birthright, is formed by the same analogy with masterdom in this play, signifying the privileges or rights of a master.

Perhaps it might be birth-dame for mother; let us stand over our mother that lies bleeding on the ground.

NOTE XL.

Malcolm. Now we'll together, and the chance of goodness Be like our warranted quarrel.

The chance of goodness, as it is commonly read, conveys no sense. If there be not some more important error in the passage, it should at least be pointed thus:

And the chance, of goodness,

Be like our warranted quarrel.

That is, May the event be, of the goodness of heaven, [pro justicia divina,] answerable to the

cause.

But I am inclined to believe that Shakspeare wrote,

And the chance, O goodness,

Be like our warranted quarrel. This some of his transcribers wrote with a small o, which another imagined to mean of. If we adopt this reading, the sense will be, and O thou sovereign goodness to whom we now appeal, may our fortune answer to our cause.

NOTE XLI.-ACT V. SCENE III.

Macbeth. Bring me no more reports, let them fly all, 'Till Birnam wood remove to Dunsinane, I cannot taint with fear. What's the boy Malcolm? Was he not born of woman?

Fly false Thanes,

And mingle with the English epicures.

In the first line of this speech, the proper pauses are not observed in the present editions.

Bring me no more reports-let them fly all Tell me not any more of desertions-Let all my subjects leave me I am safe till, &c.

The reproach of epicurism, on which Mr. Theobald has bestowed a note, is nothing more than a natural invective uttered by an inhabitant of a barren country, against those who have more opportunities of luxury.

NOTE XLII.

Macbeth. I have lived long enough: my way of life Is fallen into the sear, the yellow leaf.

As there is no relation between the way of life, and fallen into the sear, I am inclined to think, that the W is only an M inverted, and that it was originally written, My May of life.

I am now passed from the spring to the autunn of my days, but I am without those comforts that should succeed the sprightliness of bloom, and support me in this melancholy season.

NOTE XLIII. - SCENE IV.

Malcolm. 'Tis his main hope:

For where there is advantage to be given,
Both more or less have given him the revolt,
And none serve with him but constrained things,
Whose hearts are absent too.

The impropriety of the expression advantage to be given, instead of advantage given, and the disagreeable repetition of the word given in the next line incline me to read,

Where there is a vantage to be gone, Both more and less have given him the revolt. Advantage or vantage in the time of Shakspeare, signified opportunity.

More and less is the same with greater and less. So in the interpolated Mandeville, a book of that age, there is a chapter of India the more and

the less.

NOTE XLIV, - SCENE V.

Macbeth. Wherefore was that cry?
Seyton. The queen is dead.

Macbeth. She should (1) have died hereafter;
There would have been a time for such a word.
To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of (2) recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life 's but a walking shadow.-

(1) She should have died hereafter,
There would have been a time for such a word.

This passage has very justly been suspected of being corrupt. It is not apparent for what word there would have been a time; and that there would or would not be a time for any word, seems not a consideration of importance sufficient to transport Macbeth into the following exclamation. I read therefore,

She should have died hereafter,
There would have been a time for-such a world
To-morrow, &c.

It is a broken speech, in which only part ot the thought is expressed, and may be para

should attempt to teach others what he has never learned himself; and that those who, like Themistocles, have studied the arts of policy, and can teach a small state how to grow great, should, like him, disdain to labour in trifles, and consider petty accomplishments as below their ambition.

WHEN the works of Shakspeare are, after so many editions, again offered to the public, it will doubtless be inquired, why Shakspeare stands in more need of critical assistance than any other of the English writers, and what are the deficiencies of the late attempts, which another editor may hope to supply.

The business of him that republishes an ancient book is to correct what is corrupt, and to explain what is obscure. To have a text corrupt in many places, and in many doubtful, is, among the authors that have written since the use of types, almost peculiar to Shakspeare. Most writers, by publishing their own works, prevent all various readings, and preclude all conjectural criticism. Books indeed are sometimes published after the death of him who produced them; but they are better secured from corruption than these unfortunate compositions. They subsist in a single copy written or revised by the author; and the faults of the printed volume can be only faults of one descent.

But of the works of Shakspeare the condition has been far different: he sold them, not to be printed, but to be played. They were immediately copied for the actors, and multiplied by transcript after transcript, vitiated by the blunders of the penman, or changed by the affectation of the player; perhaps enlarged to introduce a jest, or mutilated to shorten the representation; and printed at last without the concurrence of the author, without the consent of the proprietor, from compilations made by chance or by stealth out of the separate parts written for the theatre; and thus thrust into the world surreptitiously and hastily, they suffered another deprivation from the ignorance and negligence of the printers, as every man who knows the state of the press in that age will readily conceive.

It is not easy for invention to bring together so many causes concurring to vitiate the text. No other author ever gave up his works to fortune and time with so little care; no books,

could be left in hands so likely to injure them, as plays frequently acted, yet continued in manuscript: no other transcribers were likely to be so little qualified for their task as those who copied for the stage, at a time when the lower ranks of the people were universally illiterate: no other editions were made from fragments so minutely broken, and so fortuitously re-united; and in no other age was the art of printing in such unskilful hands.

With the causes of corruption that make the revisal of Shakspeare's dramatic pieces necessary, may be enumerated the causes of obscurity, which may be partly imputed to his age, and partly to himself.

When a writer outlives his contemporaries, and remains almost the only unforgotten name of a distant time, he is necessarily obscure. Every age has its modes of speech, and its cast of thought; which, though easily explained when there are many books to be compared with each other, becomes sometimes unintelligible, and always difficult, when there are no parallel passages that may conduce to their illustration. Shakspeare is the first considerable author of sublime or familiar dialogue in our language. Of the books which he read, and from which he formed his style, some perhaps have perished, and the rest are neglected. His imitations are therefore unnoted, his allusions are undiscovered, and many beauties, both of pleasantry and greatness, are lost with the objects to which they were united, as the figures vanish when the canvass has decayed.

It is the great excellence of Shakspeare, that he drew his scenes from nature, and from life. He copied the manners of the world then passing before him, and has more allusions than other poets to the traditions and superstition of the vulgar; which must therefore be traced before he can be understood.

He wrote at a time when our poetical language was yet unformed, when the meaning of done, is to be done again; and no single edition will supply the reader with a text on which he can rely as the best copy of the works of Shakspeare. The edition now proposed will at least have this advantage over others. It will exhibit all the observable varieties of all the copies that can

swept away before its meaning was generally known, or sufficiently authorized: and in that age, above all others, experiments were made upon our language, which distorted its combinations, and disturbed its uniformity.

If Shakspeare has difficulties above other writers, it is to be imputed to the nature of his work, which required the use of the common tolloquial language, and consequently admitted many phrases allusive, elliptical, and proverbial, such as we speak and hear every hour without observing them: and of which, being now familiar, we do not suspect that they can ever grow uncouth, or that, being now obvious, they can

ever seem remote.

These are the principal causes of the obscurity of Shakspeare; to which might be added the fulness of idea, which might sometimes load his words with more sentiment than they could conveniently convey, and that rapidity of ima

the editor's determination, he may have the means of choosing better for himself.

Where all the books are evidently vitiated, and collation can give no assistance, then begins the task of critical sagacity: and some changes may well be admitted in a text never settled by the author, and so long exposed to caprice and ignorance. But nothing shall be imposed, as in the Oxford edition, without notice of the alteration; nor shall conjecture be wantonly or unnecessarily indulged.

It has been long found, that very specious emendations do not equally strike all minds with conviction, nor even the same mind at dif ferent times; and therefore, though perhaps many alterations may be proposed as el gible, very few will be obtruded as certain. In a lan guage so ungrammatical as the English, and so licentious as that of Shakspeare, emendatory criticism is always hazardous; nor can it be al

thought before he had fully explained the first. But my opinion is, that very few of his lines were difficult to his audience, and that he used such expressions as were then common, though the paucity of contemporary writers makes them now seem peculiar.

Authors are often praised for improvement, or blamed for innovation, with very little justice, by those who read few other books of the same age. Addison himself has been so unsuccessful in enumerating the words with which Milton has enriched our language, as perhaps not to have named one of which Milton was the author; and Bentley has yet more unhappily praised him as the introducer of those elisions into English poetry, which had been used from the first essays of versification among us, and which Milton was indeed the last that practised.

Another impediment, not the least vexatious to the commentator, is the exactness with which Shakspeare followed his authors. Instead of dilating his thoughts into generalities, and expressing incidents with poetical latitude, he often combines circumstances unnecessary to his main design, only because he happened to find them together. Such passages can be illustrated only by him who has read the same story in the very book which Shakspeare consulted.

He that undertakes an edition of Shakspeare, has all these difficulties to encounter, and all these obstructions to remove.

The corruptions of the text will be corrected by a careful collation of the oldest copies, by which it is hoped that many restorations may yet be made: at least it will be necessary to col lect and note the variation as materials for future critics; for it very often happens that a wrong reading has affinity to the right.

In this part all the present editions are apparently and intentionally defective. The critics did not so much as wish to facilitate the labour of those that followed them. The same books are still to be compared; the work that has been

in the writings of that age, and particularly studious of his author's diction. There is danger lest peculiarities should be mistaken for corruptions, and passages rejected as unintelligiole, which a narrow mind happens not to under

stand.

All the former critics have been so much employed on the correction of the text, that they have not sufficiently attended to the elucidation of passages obscured by accident or time. The editor will endeavour to read the books which the author read, to trace his knowledge to its source, and compare his copies with their orig nals. If in this part of his design he hopes to attain any degree of superiority to his predeces sors, it must be considered that he has the advantage of their labours; that part of the work being already done, more care is naturally be stowed on the other part; and that to declare the truth, Mr. Rowe and Mr. Pope were very ignorant of the ancient English literature; Dr. Warburton was detained by more important studies; and Mr. Theobald, if fame be just to his memory, considered learning only as an instrument of gain, and made no farther inquiry after his author's meaning, when once he had notes sufficient to embellish his page with the expected decorations.

With regard to obsolete or peculiar diction, the editor may perhaps claim some degree of confidence, having had more motives to consider the whole extent of our language than any other man from its first formation. He hopes that, by comparing the works of Shakspeare with those of writers who lived at the same time, im mediately preceded, or immediately followed him, he shall be able to ascertain his ambiguities, disentangle his intricacies, and recover the meaning of words now lost in the darkness of antiquity.

When therefore any obscurity arises from an allusion to some other book, the passage will be quoted. When the diction is entangled, it will When the sense is broken by 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 parrallel passages of Shakspeare himself.

The observation of faults and beauties is one of the duties of an annotator, which some of Shakspeare's editors have attempted, and some have neglected. For this part of his task, and for this only, was Mr. Pope eminently and indisputably qualified; nor has Dr. Warburton followed him with less diligence 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 show the opinion of the critic, 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

a

sive arguments, forcible eruption of effervescent passion, are to be considered as proportionate to common apprehension, unassisted 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 Shakspeare.

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 observation, it is the duty of a commentator to lend his assistance.

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 Shakspeare's sentiments or expression with those of ancient or modern authors, 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 former editors have affected to slight their predecessors: but in this edition all that is valuable will be adopted from every commentator, that posterity may consider it as including all the rest, and exhibiting whatever is hitherto known of the great father of the English drama.

1 HAT praises are without reason lavished on 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 consolatory expedients, are willing to hope from posterity what the present age refuses, and flatter 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 admire indiscriminately, whatever has been long preserved, without considering that time has sometimes cooperated with chance; all perhaps are more wil ling to honour past than present excellence; and the mind contemplates genius through the shades of age, as the eye surveys the sun through artificial opacity. The great contention of cri

ticism 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 absolute and definite, but gradual and comparative; to works not raised upon principles demonstrative and scientific, 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 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 styled excellent till it has been compared comp with other works of the same kind. Demonstration