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This is the sergeant, who
Like a right good and hardy soldier fought.
For Dismay'd not this
Our captains Macbeth and Banquo?—Yes;
Dismay'd not this
Our captains brave Macbeth and Banquo?—Yes.
Such harmless industry may, surely, be forgiven, if it cannot be praised: may he therefore never want a monosyllable, who can use it with such wonderful dexterity.
Rumpatur quisquis rumpitur invidia!
The rest of this edition I have not read, but, from the little that I have seen, think it not dangerous to declare that, in my opinion, its pomp recommends it more than its accuracy. There is no distinction made between the ancient reading, and the innovations of the editor; there is no reason given for any of the alterations which are made; the emendations of former critics are adopted without any acknowledgement, and few of the difficulties are removed which have hitherto embarrassed the readers of Shakespeare.
I would not however be thought to insult the editor, nor to censure him with too much petulance, for having failed in little things, of whom I have been told, that he excels in greater. But I may without indecency observe, that no man 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*.
* To this article, when first printed, Dr. Johnson affixed Proposals for anew edition of Shakespeare, to be printed in 10 vols. 18mo. the price to subscribers 1/. 5s. in sheets, of which half a guinea was to be paid at the time of subscribing, but the size and price were afterwards increased. He afterwards published the following more enlarged proposals. C.
FOR PRINTING THE
PRINTED IN THE YEAR 1756.
When the works of Shakespeare are, after so many editions, again offered to the Publick, it will doubtless be inquired, why Shakespeare 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 Shakespeare. 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 unfor
tunate 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 Shakespeare 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 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 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 Shakespeare'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 cast 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. Shakespeare 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 Shakespeare, 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 our phrases was yet in fluctuation, when words were adopted at