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frequently subjoin'd Notes to shew the deprav'd, and to prove the reform’d, Pointing : a Part of Labour in this Work which I could very willingly have spar'd myself. May it not be objected, why then have you burden'd us with these Notes? The Answer is obvious, and, if I mistake not, very material. Without such Notes, these Passages in subsequent Editions would be liable, thro' the Ignorance of Printers and Correctors, to fall into the old Confusion : Whereas, a Note on every one hinders all possible Return to Depravity, and for ever secures them in a State of Purity and Integrity not to be lost or forfeited.

Again, as some Notes have been necessary to point out the Detection of the corrupted Text, and establish the Restoration of the genuine Readings ; some others have been as necessary for the Explanation of Passages obscure and difficult. To understand the Necessity and Use of this Part of my Task, some Particulars of my

Author's Character are previously to be explain'd. There are Obscurities in him, which are common to him with all Poets of the same Species; there are Others, the Issue of the Times he liv'd in ; and there are others, again, peculiar to himself. The Nature of Comic Poetry being entirely satirical, it busies itself more in exposing what we call Caprice and Humour, than Vices cognizable to the Laws. The English, from the Happiness of a free Constitution,

and a Turn of Mind peculiarly speculative and inquisitive, | are observ'd to produce more Humourists and a greater

Variety of original Characters, than any other People whatsoever : And These owing their immediate Birth to the peculiar Genius of each Age, an infinite Number of Things alluded to, glanced at, and expos'd, must needs become obscure, as the Characters themselves are antiquated and disused. An Editor therefore should be well vers'd in the History and Manners of his Author's Age, if he aims at doing him a Service in this Respect.

Besides, Wit lying mostly in the Assemblage of Ideas, and in the putting Those together with Quickness and

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Variety, wherein can be found any Resemblance, or Congruity, to make up pleasant Pictures, and agreeable Visions in the Fancy; the Writer, who aims at Wit, must of course range far and wide for Materials. Now, the Age in which Shakespeare liv'd, having, above all others, a wonderful Affection to appear Learned, They declined vulgar Images, such as are immediately fetch'd from Nature, and rang'd thro' the Circle of the Sciences to fetch their Ideas from thence. But as the Resemblances of such Ideas to the Subject must necessarily lie very much out of the common Way, and every Piece of Wit appear a Riddle to the Vulgar ; This, that should have taught them the forced, quaint, unnatural Tract they were in (and induce them to follow a more natural One), was the very Thing that kept them attach'd to it. The ostentatious Affectation of abstruse Learning, peculiar to that Time, the Love that Men naturally have to every Thing that looks like Mystery, fixed them down to this Habit of Obscurity. Thus became the Poetry of Donne (tho' the wittiest Man of that Age) nothing but a continued Heap of Riddles. And our Shakespeare, with all his easy Nature about him, for want of the Knowledge of the true Rules of Art, falls frequently into this vicious

The third Species of Obscurities which deform our Author, as the Effects of his own Genius and Character, , are Those that proceed from his peculiar Manner of Thinking, and as peculiar a Manner of cloathing those Thoughts

. With regard to his Thinking, it is certain that he had a general Knowledge of all the Sciences : But his Acquaintance was rather that of a Traveller, than a Native. Nothing in Philosophy was unknown to him ; but every Thing in it had the Grace and Force of Novelty. 'And as Novelty is one main Source of Admiration, we are not to wonder that He has

perpetual Allusions to the most recondite Parts of the Sciences : and This was done not so much out of Affectation, as the Effect of Admiration begot by


Novelty. Then, as to his Style and Diction, we may much more justly apply to SHAKESPEARE what a cele

brated Writer has said of Milton; Our Language sunk under him, and was unequal to that Greatness of Soul

which furnish'd him with such glorious Conceptions. He therefore frequently uses old Words, to give his Diction an Air of Solemnity; as he coins others, to express the Novelty and Variety of his Ideas.

Upon every distinct Species of these Obscurities I have thought it my Province to employ a Note, for the Service of my Author, and the Entertainment of my Readers. A few transient Remarks too I have not scrupled to intermix, upon the Poet's Negligences and Omissions in point of Art; but I have done it always in such a Manner as will testify my Deference and Veneration for the immortal Author. Some Censurers of Shakespeare, and particularly Mr. Rymer, have taught me to distinguish betwixt the Railer and Critick. The Outrage of his Quotations is so remarkably violent, so push'd beyond all bounds of Decency and Sober Reasoning, that it quite carries over the Mark at which it was levell'd. Extravagant Abuse throws off the Edge of the intended Disparagement, and turns the Madman's Weapon into his own Bosom. In short, as to Rymer, This is my Opinion of him from his Criticisms on the Tragedies of the Last Age. He writes with great Vivacity, and appears to have been a Scholar : but, as for his Knowledge of the Art of Poetry, I can't perceive it was any deeper than his Acquaintance with Bossu and Dacier, from whom he has transcrib'd many

of his best Reflexions. The late Mr. Gildon was one attached to Rymer by a similar way of Thinking and Studies. They were both of that Species of Criticks, who are desirous of displaying their Powers rather in finding Faults, than in consulting the Improvement of the World: the hypercritical Part of the Science of Criticism.

I had not mentioned the modest Liberty I have here

and there taken of animadverting on my Author, but that I was willing to obviate in time the splenetick Exaggerations of my Adversaries on this Head From past Experiments I have reason to be conscious in what Light this Attempt may be placed : and that what I call a modest Liberty, will, by a little of their Dexterity, be inverted into downright Impudence. From a hundred mean and dishonest Artifices employ'd to discredit this Edition, and to cry down its Editor, I have all the Grounds in nature to beware of Attacks. But tho' the Malice of Wit, join’d to the Smoothness of Versification, may furnish some Ridicule ; Fact, I hope, will be able to stand its Ground against Banter and Gaiety.

It has been my Fate, it seems, as I thought it my Duty, to discover some Anachronisms in our Author; which might have slept in Obscurity but for this Restorer, as Mr. Pope is pleas'd affectionately to stile me: as, for Instance, where Aristotle is mentioned by Hector in Troilus and Cressida : and Galen, Cato, and Alexander the Great, in Coriolanus. These, in Mr. Pope's Opinion, are Blunders, which the Illiteracy of the first Publishers of his works has father'd upon the Poet's Memory :

at all credible, that These could be the Errors of any Man who had the least Tincture of a School, or the least Conversation with Such as had. But I have sufficiently proved, in the course of my Notes, that such Anachronisms were the Effect of Poetic Licence, rather than of Ignorance in our Poet. And if I may be permitted to ask a modest Question by the way, Why may not I restore an Anachronism really made by our Author, as well as Mr. Pope take the Privilege to fix others upon him, which he never had it in his Head to make ; as I may venture to affirm he had not, in the Instance of Sir Francis Drake, to which I have spoke in the proper Place ?

But who shall dare make any Words about this Freedom of Mr. Pope's towards Shakespeare, if it can

it not being


be prov'd, that, in his Fits of Criticism, he makes no more Ceremony with good Homer himself ? To try, then, a Criticism of his own advancing; In the 8th Book of the Odyssey, where Demodocus sings the Episode of the Loves of Mars and Venus; and that, upon their being taken in the Net by Vulcan,

-The God of Arms
Must pay the Penalty for lawless Charms;
Mr. Pope is so kind gravely to inform us,

“ That Homer in This, as in many other Places, seems allude to the Laws of Athens, where Death was the Punishment of Adultery.” But how is this significant Observation made out? Why, who can possibly object any Thing to the contrary ?- -Does not Pausanias relate that Draco the Lawgiver to the Athenians granted Impunity to any Person that took Revenge upon an Adulterer? And was it not also the Institution of Solon, that if Any One took an Adulterer in the Fact, he might use him as he pleas'd? These Things are very true: and to see what a good Memory, and sound Judgment in Conjunction can atchieve! Tho' Homer's Date is not determin'd down to a single Year, yet 'tis pretty generally agreed that he liv'd above 300 Years before Draco and Solon : And That, it seems, has made him seem to allude to the very Laws which these Two Legislators propounded about 300 Years after. If this Inference be not something like an Anachronism or Prolepsis, I'll look once more into my Lexicons for the true Meaning of the Words. It appears to me that somebody besides Mars and Venus has been caught in a Net by this Episode: and I could call in other Instances to confirm what treacherous Tackle this Net-work is, if not cautiously handled.

How just, notwithstanding, I have been in detecting the Anachronisms of my Author, and in defending him for the Use of them, our late Editor seems to think, they should rather have slept in Obscurity : and the

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