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death of him who produced them, but they are better secured froin corruptions 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 fold 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, oř 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 furreptitiously and' hastily, they suffered another depravation 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 a 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 ininutely broken, and so fortuitously

re-united; and in no other age was the art of print. ing in such unskilful hands.

With the causes of corruption that make the revisal of Shakspeare's dramatick 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 caft of thought; which, though easily explained when there are many books to be compared with each other, become 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 canvas 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 paffing before him, and has more allusions than other poets to the traditions and superstitions 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 our phrases

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was yet in fluctuation, when words were adopted at pleasure from the neighbouring languages, and while the Saxon was fill visibly mingled in our diction. The reader is therefore embarrassed at once with dead and with foreign languages, with obsoleteness and innovation. In that age, as in all others, fashion produced phraseology, which succeeding fashion 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 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 obvious, they can ever seem re

mote.

These are the principal causes of the obscurity of Shakspeare; to which may be added that fullness 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, 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 author. 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 fame story in the very book which Shake speare 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 necellary to collect and note the variations as materials for future criticks, for it very often happens that a wrong reading has allinity to the right.

" In this part all the present editions are apparently and intentionally defective. The criticks did not so much as with to facilitate the labour of those

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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 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 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 assistance, then begins the task of critical fagacity: 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 different times; and therefore, though perhaps many alterations may 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 Shakspeare , 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 ftudious of his author's diction. There is danger left peculiarities should be mistaken for corruptions, and paffages rejected as unintelligible which a narrow mind happens not to understand.

66 All the former criticks have been fo much

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