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its Modes of Speech, and its Caft of Thought; which, though easily explained when there are many Books to be compared with each other, become fometimes unintelligible, and always difficult, when there are no parallel Passages that may conduce to their Illuftration. Shakespeare is the first considerable Au. thour of sublime or familiar Dialogue in our Language. Of the Books which he reall, 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 vanilla when the Canvas has decayed.
It is the great Excellence of Shakespeare, that he drew his Scenes from Nature, and from Lise. He copied the Manners of the World then passing before him, and has more Allusions than other Poets to the
Traditions and Superfition of the Vulgar; which must therefore be traced before he can be under: Itood. .
He wrote at a Time when our poetical Language was yet unformed, when the Meaning of our Phrales was yet in Fluctuation, when Words were adopted at Pleasure from the neighbouring Languages, and while the Saxon was still visibly mingled in our Diction. The Reader is therefore embarrassed at once with dead and with foreign Languages, with Obsoleteness and Innoyation. In that Age, as in al} others, Fashion produced Phraseology, which succeeding Fashion swept away before its Meaning was generally known, or sufficiently authorised: And in that Age, above all others, Experiments were made upon our Language, which didorted its Combinations, and disturbed its Uniformity.
If Shakespeare has Difficulties above other Writers, it is to be imputed to the Nature of his Work, which
required the Use of the common colloquial 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 obviouş, they can ever seem remote. :. These are the principal Causes of the Obscurity of
Shakespeare; 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 Imagination which might hurry him to a second 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, tho' the Paucity of contemporary Writers makes them now seem peculiar.
Authours are often praised for Improvement, or blamed for Innovation, with very little Justice, by those who read few other Books of the fame 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 Miltori 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 Efrays 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 Shakespeare followed his Authours. Instead of di. lating his Thoughts into Generalities, and expresling Incidents with poetical Latitude, he often combines Circumstances unnecessary to his main Design, only because he happened to find them together. Such * Pafuges can be illustrated only by him who has read
the same Story in the very Book which Shakespeare consulted.
He that undertakes an Edition of Shakespeare, has all these Difficulties to encounter, and all these Obe structions 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 collect and note the Variation as Materials for future Criticks; 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 Criticks did not fo 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 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 Shakespeare.
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 be found; that, if the Reader is not satisfied with 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 Aslistance, then begins the Talk of crítical Sagacity: And fome Changes may well be admitted in a Text never settled by the Authour, 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 Emen, dations do not equally strike all Minds with Conviction, nor even the same Mind at different Times ; and therefore, though perhaps many Alterations may
be be proposed as eligible, very few will be obtruded as certain. In a Language so ungrammatical as the English, and so licentious as that of Shakespeare, emendatory Criticism is always hazardous ; nor can it be allowed to any Man who is not particularly versed in the Writings of that Age, and particularly studious of his Authour's Diction. There is Danger lest Peculiarities should be mistaken for Corruptions, and Passages rejected as unintelligible, which a narrow Mind happens not to understand.
All the former Criticks 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 endeavoured to read the Books which the Authour read, to trace his Knowledge to its Source, and compare his Copies with their Originals. If in this part of his Design he hopes to attain any Degree of Superiority to his Predecessors, it must be considered, that he has the Advantage of their Labours; that part of the Work being already done, more Care is naturally bestowed 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 further Enquiry after his Authour's Meaning, when once he had Notęs sufficient to embellish his Page with the expected Decorations.
With Regard to obsolete or peculiar Diction, the Editor may perhaps claim fome Degree of Confidence, having had more Motives to consider the whole Ex. tent of our Language than any other Man from its first Formation. He hopes that, by comparing the Works of Shakespeare with those of Writers who lived at the same Time, immediately preceded, or immediately followed him, he shall be able to ascer
tain his Ambiguities, disentangle his Intricacies, and recover the Meaning of Words now lost in the Darkness of Antiquity.
When therefore any Obscurity arifes from an Ale lufion to fome other Book, the Paffage will be quoted. When the Diction is entangled, it will be cleared by a Paraphrafe or Interpretation. When the Sense is broken by the Suppression of Part of the Sentiment in Pleasantry or Paffion, 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 paralle! Passages of Shakespeare himfelf.
The Observation of Faults and Beauties is one of the Duties of an Annotator, which some of Shakespeare's Editors have attempted, and fome have nego lected. 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 lefs 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
and Ignorant to decide without Principles; defeat Curiosity and Difcernment, by leaving them less to difcover; and at last shew the Opinion of the Crio 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 Expe