Complete Works of Samuel Johnson, page 543
Till famine cling thee: if thy speech be sooth,
I care not if thou dost for me as much. —
I pull in resolution; and begin
To doubt th’ equivocation of the fiend,
That lies like truth: “Fear not till Birnam wood
Do come to Dunsinane,” and now a wood
Comes toward Dunsinane.
I pull in resolution. —
Though this is the reading of all the editions, yet as it is a phrase without either example, elegance, or propriety, it is surely better to read:
I pall in resolution. —
I languish in my constancy, my confidence begins to forsake me. It is scarcely necessary to observe how easily pall might be changed into pull by a negligent writer, or mistaken for it by an unskilful printer.
NOTE XLVI.
SCENE VIII.
Siward Had I as many sons as I have hairs, I would not wish them to a fairer death: And so his knell is knoll’d.
This incident is thus related from Henry of Huntingdon, by Camden, in his Remains, from which our author probably copied it.
When Siward, the martial Earl of Northumberland, understood that his son, whom he had sent in service against the Scotchmen, was slain, he demanded whether his wound were in the fore part or hinder part of his body. When it was answered in the fore part, he replied, “I am right glad; neither wish I any other death to me or mine.”
* * * * *
After the foregoing pages were printed, the late edition of Shakespeare, ascribed to Sir Thomas Hanmer, fell into my hands; and it was, therefore, convenient for me to delay the publication of my remarks, till I had examined whether they were not anticipated by similar observations, or precluded by better. I, therefore, read over this tragedy, but found that the editor’s apprehension is of a cast so different from mine, that he appears to find no difficulty in most of those passages which I have represented as unintelligible, and has, therefore, passed smoothly over them, without any attempt to alter or explain them.
Some of the lines with which I had been perplexed, have been, indeed, so fortunate as to attract his regard; and it is not without all the satisfaction which it is usual to express on such occasions, that I find an entire agreement between us in substituting [see Note II.] quarrel for quarry, and in explaining the adage of the cat, [Note XVII.] But this pleasure is, like most others, known only to be regretted; for I have the unhappiness to find no such conformity with regard to any other passage.
The line which I have endeavoured to amend, Note XI. is, likewise, attempted by the new editor, and is, perhaps, the only passage in the play in which he has not submissively admitted the emendations of foregoing criticks. Instead of the common reading,
— Doing every thing Safe towards your love and honour,
he has published,
— Doing every thing Shap’d towards your love and honour.
This alteration, which, like all the rest attempted by him, the reader is expected to admit, without any reason alleged in its defence, is, in my opinion, more plausible than that of Mr. Theobald: whether it is right, I am not to determine.
In the passage which I have altered in Note XL. an emendation is, likewise, attempted in the late edition, where, for,
— and the chance of goodness
Be like our warranted quarrel,
is substituted — and the chance in goodness — whether with more or less elegance, dignity, and propriety, than the reading which I have offered, I must again decline the province of deciding.
Most of the other emendations which he has endeavoured, whether with good or bad fortune, are too trivial to deserve mention. For surely the weapons of criticism ought not to be blunted against an editor, who can imagine that he is restoring poetry, while he is amusing himself with alterations like these: for,
— This is the sergeant,
Who like a good and hardy soldier fought;
— 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 criticks are adopted without any acknowledgment, 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.
PROPOSALS FOR PRINTING THE DRAMATICK WORKS OF WILLIAM SHAKESPEARE
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 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 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 reunited; 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 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 innovation. In that age, as in all 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 distorted 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 obvious, 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, 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 Shakespeare 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 Shakespeare consulted.
He that undertakes an edition of Shakespeare, 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 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 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 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 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 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 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 author’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 corrections 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 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 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 Shakespeare with those of writers who lived at the same time, immediately 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 be cleared by a paraphrase or interpretation. When the sense is broken 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 parallel passages of Shakespeare himself.
The observation of faults and beauties is one of the duties of an annotator, which some of Shakespeare’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 critick, 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 experience, a deduction of conclusive arguments, a forcible eruption of effervescent passion, are to be considered as proportionate to common apprehension, unassisted by critical officiousness; since, to conceive 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 Shakespeare.
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 some obscure passages.
The editor does not, however, intend to preclude himself from the comparison of Shakespeare’s sentiments or expression with those of ancient or modern authors, or from the display of any beauties 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.
PREFACE TO THE PLAYS OF WILLIAM SHAKESPEARE
