Notes are often necessary, but they are necessary evils. Let him, that is yet unacquainted with the powers of Shakspeare, and who desires to feel the highest pleasure that the drama can give, read every play, from the first scene to the last, with utter negligence of all his commentators. When his fancy is once on the wing, let it not stoop at correction or explanation. When his attention is strongly engaged, let it disdain alike to turn aside to the name of Theobald and of Pope. Let him read on through brightness and obscurity, through integrity and corruption; let him preserve his comprehension of the dialogue and his interest in the fable. And when the pleasures of novelty have ceased, let him attempt exactness, and read the commentators. Particular passages are cleared by notes, but the general effect of the work is weakened. The mind is refrigerated by interruption; the thoughts are diverted from the principal subject; the reader is weary, he suspects not why; and at last throws away the book which he has too diligently studied. Parts are not to be examined till the whole has been surveyed; there is a kind of intellectual remoteness necessary for the comprehension of any great work in its full design and in its true proportions; a close approach shows the smaller niceties, but the beauty of the whole is discerned no longer. It is not very grateful to consider how little the succession of editors has added to this author's power of pleasing. He was read, admired, studied, and imitated, while he was yet deformed with all the improprieties which ignorance and neglect could accumulate upon him; while the reading was yet not rectified, nor his allusions understood; yet then did Dryden pronounce, that Shakspeare was the man, who, of all modern and perhaps ancient poets, had the largest and most comprehensive soul. All the images of nature were still present to him, and he drew them not laboriously, but luckily: when he describes any thing, you more than see it, you feel it too. Those, who accuse him to have wanted learning, give him the greater commendation; he was naturally learned; he needed not the spectacles of books to read nature; he looked inwards, and found her there. I cannot say he is every where alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat and insipid; his comick wit degenerating into clenches, his serious swelling into bombast. But he is always great, when some great occasion is presented to him: no man can say, he ever had a fit subject for his wit, and did not then raise himself as high above the rest of poets, Quantum lenta solent inter viburna cupressi. It is to be lamented, that such a writer should want a commentary; that his language should become obsolete, or his sentiments obscure. But it is vain to carry wishes beyond the condition of human things; that which must happen to all, has happened to Shakspeare, by accident and time; and more than has been suffered by any other writer since the use of types, has been suffered by him through his own negligence of fame, or perhaps by that superiority of mind, which despised its own performances, when it compared them with its powers, and judged those works unworthy to be preserved, which the criticks of following ages were to contend for the fame of restoring and explaining. Among these candidates of inferior fame, I am now to stand the judgment of the publick; and wish that I could confidently produce my commentary as equal to the encouragement which I have had the nonour of receiving. Every work of this kind is by its nature deficient, and I should feel little solicitude about the sentence, were it to be pronounced only by the skilful and the learned. Of what has been performed in this revisal, an account is given by Mr. Steevens, who might have spoken both of his own diligence and sagacity, in terms of greater self-approbation, without deviating from modesty or truth. JOHNSON. GLOSSARY EXPLAINING THE OBSOLETE AND DIFFICULT WORDS IN THE PLAYS OF SHAKSPEARE. When a word is not properly English, but borrowed from a foreign language, and not familiarised by use into our own; the original word in such foreign language is set down. A. To Aby, to suffer for, to pay dear for. To Accite, to call, to summon or send for. Lat. Accire. To Affeer, to confirm, to ascertain: a law-term used in courtleets, and signifying to confirm or fix by persons properly chosen the mulcts there imposed upon such as have committed faults arbitrarily punishable, and which have no express penalty annexed to them by any statute. Fr. Affeurer. To Affie, to affiance, to betroth; also, to confide. To Affront, to front, or confront, or face. An Aglet, the tag of a lace, or of the points formerly used as ornaments in dress, and which (for the greater finery) were often cut in shape of little images. Fr. Aiguillette. To Agnize, to acknowledge, to avow. VOL. I. Lat. Agnoscere. i |