Eighteenth Century Essays on Shakespeare Part 8

To these Particulars, which regard his Person and private Life, some few more are to be glean'd from Mr. ROWE'S Account of his _Life_ and _Writings_: Let us now take a short View of him in his publick Capacity, as a _Writer_: and, from thence, the Transition will be easy to the _State_ in which his _Writings_ have been handed down to us.

No Age, perhaps, can produce an Author more various from himself than _Shakespeare_ has been universally acknowledged to be. The Diversity in Stile, and other Parts of Composition, so obvious in him, is as variously to be accounted for. His Education, we find, was at best but begun: and he started early into a Science from the Force of Genius, unequally a.s.sisted by acquir'd Improvements. His Fire, Spirit, and Exuberance of Imagination gave an impetuosity to his Pen: His Ideas flow'd from him in a Stream rapid, but not turbulent; copious, but not ever over-bearing its Sh.o.r.es.

The Ease and Sweetness of his Temper might not a little contribute to his Facility in Writing: as his Employment, as a _Player_, gave him an Advantage and Habit of fancying himself the very Character he meant to delineate. He used the Helps of his Function in forming himself to create and express that _Sublime_ which other Actors can only copy, and throw out, in Action and graceful Att.i.tude. But _Nullum sine Venia placuit Ingenium_, says _Seneca_. The Genius that gives us the greatest Pleasure, sometimes stands in Need of our Indulgence. Whenever this happens with regard to _Shakespeare_ I would willingly impute it to a Vice of _his Times_. We see Complaisance enough, in our Days, paid to a _bad Taste_. So that his _Clinches_, _false Wit_, and descending beneath himself, may have proceeded from a Deference paid to the then _reigning Barbarism_.

I have not thought it out of my Province, whenever Occasion offer'd, to take notice of some of our Poet's grand Touches of Nature: Some that do not appear superficially such; but in which he seems the most deeply instructed; and to which, no doubt, he has so much ow'd that happy Preservation of his _Characters_, for which he is justly celebrated. Great Genius's, like his, naturally unambitious, are satisfy'd to conceal their Art in these Points. 'Tis the Foible of your worser Poets to make a Parade and Ostentation of that little Science they have; and to throw it out in the most ambitious Colours. And whenever a Writer of this Cla.s.s shall attempt to copy these artful Concealments of our Author, and shall either think them easy, or practised by a Writer for his Ease, he will soon be convinced of his Mistake by the Difficulty of reaching the Imitation of them.

Speret idem, sudet multum, frustraque laboret, Ausus idem:--

Indeed, to point out, and exclaim upon, all the Beauties of _Shakespeare_, as they come singly in Review, would be as insipid, as endless; as tedious, as unnecessary: But the Explanation of those Beauties that are less obvious to common Readers, and whose Ill.u.s.tration depends on the Rules of just Criticism, and an exact knowledge of human Life, should deservedly have a Share in a general Critic upon the Author. But, to pa.s.s over at once to another Subject:--

It has been allow'd on all hands, how far our Author was indebted to _Nature_; it is not so well agreed, how much he ow'd to _Languages_ and acquired _Learning_. The Decisions on this Subject were certainly set on Foot by the Hint from _Ben Jonson_, that he had small _Latin_ and less _Greek_: And from this Tradition, as it were, Mr. _Rowe_ has thought fit peremptorily to declare, that, "It is without Controversy, he had no Knowledge of the Writings of the ancient Poets, for that in his Works we find no Traces of any thing which looks like an imitation of the Ancients.

For the Delicacy of his Taste (_continues He_) and the natural Bent of his own great Genius (equal, if not superior, to some of the Best of theirs), would certainly have led him to read and study them with so much Pleasure, that some of their fine Images would naturally have insinuated themselves into, and been mix'd with his own Writings: and so his not copying at least something from them, may be an Argument of his never having read them." I shall leave it to the Determination of my Learned Readers, from the numerous Pa.s.sages, which I have occasionally quoted in my Notes, in which our Poet seems closely to have imitated the Cla.s.sics, whether Mr.

_Rowe_'s a.s.sertion be so absolutely to be depended on. The Result of the Controversy must certainly, either way, terminate to our Author's Honour: how happily he could imitate them, if that Point be allowed; or how gloriously he could think like them, without owing any thing to Imitation.

Tho' I should be very unwilling to allow _Shakespeare_ so poor a Scholar as Many have labour'd to represent him, yet I shall be very cautious of declaring too positively on the other side of the Question: that is, with regard to my Opinion of his Knowledge in the dead languages. And therefore the Pa.s.sages, that I occasionally quote from the _Cla.s.sics_, shall not be urged as Proofs that he knowingly imitated those Originals; but brought to shew how happily he has express'd himself upon the same Topicks. A very learned Critick of our own Nation has declar'd, that a Sameness of Thought and Sameness of Expression too, in Two Writers of a different Age, can hardly happen, without a violent Suspicion of the latter copying from his Predecessor. I shall not therefore run any great Risque of a Censure, tho'

I should venture to hint, that the Resemblances in Thought and Expression of our Author and an Ancient (which we should allow to be Imitation in the One whose learning was not question'd) may sometimes take its Rise from Strength of Memory, and those Impressions which he owed to the School. And if we may allow a Possibility of This, considering that, when he quitted the School he gave into his Father's Profession and way of Living, and had, 'tis likely, but a slender Library of Cla.s.sical Learning; and considering what a Number of Translations, Romances, and Legends, started about his Time, and a little before (most of which, 'tis very evident, he read); I think, it may easily be reconciled why he rather schemed his _Plots_ and _Characters_ from these more latter Informations, than went back to those Fountains, for which he might entertain a sincere Veneration, but to which he could not have so ready a Recourse.

In touching on another Part of his Learning, as it related to the Knowledge of _History_ and _Books_, I shall advance something that, at first sight, will very much wear the Appearance of a Paradox. For I shall find it no hard Matter to prove, that, from the grossest Blunders in History, we are not to infer his real Ignorance of it: Nor from a greater Use of _Latin_ Words, than ever any other _English_ Author used, must we infer his intimate Acquaintance with that Language.

A Reader of Taste may easily observe, that tho' _Shakespeare_, almost in every Scene of his historical Plays, commits the grossest Offences against Chronology, History, and Ancient Politicks; yet This was not thro'

Ignorance, as is generally supposed, but thro' the too powerful Blaze of his Imagination; which, when once raised, made all acquired Knowledge vanish and disappear before it. But this Licence in him, as I have said, must not be imputed to Ignorance: since as often we may find him, when Occasion serves, reasoning up to the Truth of History; and throwing out Sentiments as justly adapted to the Circ.u.mstances of his Subject, as to the Dignity of his Characters, or Dictates of Nature in general.

Then to come to his Knowledge of the _Latin_ Tongue, 'tis certain there is a surprising Effusion of _Latin_ Words made _English_, far more than in any one _English_ Author I have seen; but we must be cautious to imagine this was of his own doing. For the _English_ Tongue, in this Age, began extremely to suffer by an inundation of _Latin_: And this, to be sure, was occasion'd by the Pedantry of those two Monarchs, _Elizabeth_ and _James_, Both great _Latinists_. For it is not to be wonder'd at, if both the Court and Schools, equal Flatterers of Power, should adapt themselves to the Royal Taste.

But now I am touching on the Question (which has been so frequently agitated, yet so entirely undecided) of his Learning and Acquaintance with the Languages; an additional Word or two naturally falls in here upon the Genius of our Author, as compared with that of _Jonson_ his Contemporary.

They are confessedly the greatest Writers our Nation could ever boast of in the _Drama_. The first, we say, owed all to his prodigious natural Genius; and the other a great deal to his Art and Learning. This, if attended to, will explain a very remarkable Appearance in their Writings.

Besides those wonderful Masterpieces of Art and Genius, which each has given us, They are the Authors of other Works very unworthy of them: But with this Difference, that in _Jonson_'s bad Pieces we don't discover one single Trace of the Author of the _Fox_ and _Alchemist_: but in the wild extravagant Notes of _Shakespeare_, you every now and then encounter Strains that recognize the divine Composer. This Difference may be thus accounted for. _Jonson_, as we said before, owing all his Excellence to his Art, by which he sometimes strain'd himself to an uncommon Pitch, when at other times he unbent and play'd with his Subject, having nothing then to support him, it is no wonder he wrote so far beneath himself. But _Shakespeare_, indebted more largely to Nature than the Other to acquired Talents, in his most negligent Hours could never so totally divest himself of his Genius, but that it would frequently break out with astonis.h.i.+ng Force and Splendor.

As I have never propos'd to dilate farther on the Character of my Author than was necessary to explain the Nature and Use of this Edition, I shall proceed to consider him as a Genius in Possession of an everlasting Name.

And how great that Merit must be, which could gain it against all the Disadvantages of the horrid Condition in which he had hitherto appear'd!

Had _Homer_, or any other admir'd Author, first started into Publick so maim'd and deform'd, we cannot determine whether they had not sunk for ever under the Ignominy of such an ill Appearance. The mangled Condition of _Shakespeare_ has been acknowledg'd by Mr. _Rowe_, who published him indeed, but neither corrected his Text, nor collated the old Copies. This Gentleman had Abilities, and a sufficient Knowledge of his Author, had but his Industry been equal to his Talents. The same mangled Condition has been acknowledg'd too by Mr. _Pope_, who publish'd him likewise, pretended to have collated the old Copies, and yet seldom has corrected the Text but to its Injury. I congratulate with the _Manes_ of our Poet, that this Gentleman has been sparing in _indulging his private Sense_, as he phrases it; for He who tampers with an Author whom he does not understand, must do it at the Expence of his Subject. I have made it evident throughout my Remarks, that he has frequently inflicted a Wound where he intended a Cure. He has acted with regard to our Author, as an Editor, whom LIPSIUS mentions, did with regard to MARTIAL; _Inventus est nescio quis_ Popa, _qui non_ vitia _ejus_, _sed_ ipsum _excidit_. He has attack'd him like an unhandy _Slaughterman_; and not lopp'd off the _Errors_, but the _Poet_.

When this is found to be Fact, how absurd must appear the Praises of such an Editor! It seems a moot Point, whether Mr. _Pope_ has done most Injury to _Shakespeare_ as his Editor and Encomiast, or Mr. _Rymer_ done him Service as his Rival and Censurer. They have Both shewn themselves in an equal _Impuissance_ of suspecting, or amending, the corrupted Pa.s.sages: and tho' it be neither Prudence to censure, or commend, what one does not understand; yet if a man must do one when he plays the Critick, the latter is the more ridiculous Office: And by that _Shakespeare_ suffers most. For the natural Veneration which we have for him, makes us apt to swallow whatever is given us as _his_, and set off with Encomiums; and hence we quit all suspicions of Depravity: On the contrary, the Censure of so divine an Author sets us upon his Defence; and this produces an exact Scrutiny and Examination, which ends in finding out and discriminating the true from the spurious.

It is not with any secret Pleasure that I so frequently animadvert on Mr.

_Pope_ as a Critick; but there are Provocations which a Man can never quite forget. His Libels have been thrown out with so much Inveteracy, that, not to dispute whether they _should_ come from a _Christian_, they leave it a Question whether they _could_ come from a _Man_. I should be loth to doubt, as _Quintus Serenus_ did in a like Case,

Sive h.o.m.o, seu similis turp.i.s.sima bestia n.o.bis, Vulnera dente dedit.

The Indignation, perhaps, for being represented a _Block-head_, may be as strong in us as it is in the Ladies for a Reflexion on their _Beauties_.

It is certain, I am indebted to Him for some _flagrant Civilities_; and I shall willingly devote a Part of my Life to the honest Endeavour of quitting Scores: with this Exception however, that I will not return those Civilities in his _peculiar_ Strain, but confine myself, at least, to the Limits of _common Decency_. I shall ever think it better to want _Wit_, than to want _Humanity_: and impartial Posterity may, perhaps, be of my Opinion.

But, to return to my Subject; which now calls upon me to inquire into those Causes, to which the Depravations of my Author originally may be a.s.sign'd. We are to consider him as a Writer, of whom no authentic Ma.n.u.script was left extant; as a Writer, whose Pieces were dispersedly perform'd on the several _Stages_ then in Being. And it was the Custom of those Days for the Poets to take a Price of the _Players_ for the Pieces They from time to time furnish'd; and thereupon it was suppos'd, they had no farther Right to print them without the Consent of the _Players_. As it was the Interest of the _Companies_ to keep their Plays unpublish'd, when any one succeeded, there was a Contest betwixt the Curiosity of the Town, who demanded to see it in Print, and the Policy of the _Stagers_, who wish'd to secrete it within their own Walls. Hence, many Pieces were taken down in Short-hand, and imperfectly copied by Ear, from a _Representation_: Others were printed from piece-meal Parts surrept.i.tiously obtain'd from the Theatres, uncorrect, and without the Poet's Knowledge. To some of these Causes we owe the Train of Blemishes that deform those Pieces which stole singly into the World in our Author's Lifetime.

There are still other Reasons which may be suppos'd to have affected the whole Set. When the _Players_ took upon them to publish his Works intire, every Theatre was ransack'd to supply the Copy; and _Parts_ collected, which had gone thro' as many Changes as Performers, either from Mutilations or Additions made to them. Hence we derive many Chasms and Incoherences in the Sense and Matter. Scenes were frequently transposed, and shuffled out of their true Place, to humour the Caprice, or suppos'd Convenience, of some particular Actor. Hence much Confusion and Impropriety has attended and embarra.s.s'd the Business and Fable. To these obvious Causes of Corruption it must be added, That our Author has lain under the Disadvantage of having his Errors propagated and multiplied by Time: because, for near a Century, his Works were publish'd from the faulty Copies, without the a.s.sistance of any intelligent Editor: which has been the Case likewise of many a _Cla.s.sic_ Writer.

The Nature of any Distemper once found has generally been the immediate Step to a Cure. _Shakespeare_'s Case has in a great Measure resembled That of a corrupt _Cla.s.sic_; and, consequently, the Method of Cure was likewise to bear a Resemblance. By what Means, and with what Success, this Cure has been effected on ancient Writers, is too well known, and needs no formal Ill.u.s.tration. The Reputation, consequent on Tasks of that Nature, invited me to attempt the Method here; with this view, the Hopes of restoring to the Publick their greatest Poet in his original Purity: after having so long lain in a Condition that was a Disgrace to common Sense. To this end I have ventur'd on a Labour, that is the first a.s.say of the kind on any modern Author whatsoever.

For the late Edition of _Milton_ by the Learned Dr. _Bentley_ is, in the main, a Performance of another Species. It is plain, it was the Intention of that Great Man rather to correct and pare off the Excrescencies of the _Paradise Lost_, in the Manner that _Tucca_ and _Varius_ were employ'd to criticize the _aeneis_ of _Virgil_, than to restore corrupted Pa.s.sages.

Hence, therefore, may be seen either the Iniquity or Ignorance of his Censurers, who, from some Expressions, would make us believe, the _Doctor_ every where gives us his Corrections as the original Text of the Author; whereas the chief Turn of his Criticism is plainly to shew the World, that if _Milton_ did not write as He would have him, he ought to have wrote so.

I thought proper to premise this Observation to the Readers, as it will shew that the Critic on _Shakespeare_ is of a quite different Kind. His genuine Text is for the most part religiously adhered to, and the numerous Faults and Blemishes, purely his own, are left as they were found. Nothing is alter'd, but what by the clearest Reasoning can be proved a Corruption of the true Text; and the Alteration, a real Restoration of the genuine Reading. Nay, so strictly have I strove to give the true Reading, tho'

sometimes not to the Advantage of my Author, that I have been ridiculously ridicul'd for it by Those, who either were iniquitously for turning every thing to my Disadvantage, or else were totally ignorant of the true Duty of an Editor.

The Science of Criticism, as far as it effects an Editor, seems to be reduced to these three Cla.s.ses; the Emendation of corrupt Pa.s.sages; the Explanation of obscure and difficult ones; and an Inquiry into the Beauties and Defects of Composition. This Work is princ.i.p.ally confin'd to the two former Parts: tho' there are some Specimens interspers'd of the latter Kind, as several of the Emendations were best supported, and several of the Difficulties best explain'd, by taking notice of the Beauties and Defects of the Composition peculiar to this Immortal Poet.

But this was but occasional, and for the sake only of perfecting the two other Parts, which were the proper Objects of the Editor's Labour. The third lies open for every willing Undertaker: and I shall be pleas'd to see it the Employment of a masterly Pen.

It must necessarily happen, as I have formerly observ'd, that where the a.s.sistance of Ma.n.u.scripts is wanting to set an Author's Meaning right, and rescue him from those Errors which have been transmitted down thro' a series of incorrect Editions, and a long Intervention of Time, many Pa.s.sages must be desperate, and past a Cure; and their true Sense irretrievable either to Care or the Sagacity of Conjecture. But is there any Reason therefore to say, That because All cannot be retriev'd, All ought to be left desperate? We should shew very little Honesty, or Wisdom, to play the Tyrants with an Author's Text; to raze, alter, innovate, and overturn, at all Adventures, and to the utter Detriment of his Sense and Meaning: But to be so very reserved and cautious, as to interpose no Relief or Conjecture, where it manifestly labours and cries out for a.s.sistance, seems, on the other hand, an indolent Absurdity.

As there are very few pages in _Shakespeare_, upon which some Suspicions of Depravity do not reasonably arise; I have thought it my Duty, in the first place, by a diligent and laborious Collation to take in the a.s.sistances of all the older Copies.

In his _Historical Plays_, whenever our _English_ Chronicles, and in his Tragedies when _Greek_ or _Roman_ Story, could give any Light; no Pains have been omitted to set Pa.s.sages right by comparing my Author with his Originals; for as I have frequently observed, he was a close and accurate Copier where-ever his _Fable_ was founded on _History_.

Where-ever the Author's Sense is clear and discoverable (tho', perchance, low and trivial), I have not by any Innovation tamper'd with his Text, out of an Ostentation of endeavouring to make him speak better than the old Copies have done.

Where, thro' all the former Editions, a Pa.s.sage has labour'd under flat Nonsense and invincible Darkness, if, by the Addition or Alteration of a Letter or two, or a Transposition in the Pointing, I have restored to Him both Sense and Sentiment; such Corrections, I am persuaded, will need no Indulgence.

And whenever I have taken a greater Lat.i.tude and Liberty in amending, I have constantly endeavour'd to support my Corrections and Conjectures by parallel Pa.s.sages and Authorities from himself, the surest Means of expounding any Author whatsoever. _Cette voe d'interpreter un Autheur par lui-meme est plus sure que tous les Commentaires_, says a very learned _French_ Critick.

As to my _Notes_ (from which the common and learned Readers of our Author, I hope, will derive some Satisfaction), I have endeavour'd to give them a Variety in some Proportion to their Number. Where-ever I have ventur'd at an Emendation, a _Note_ is constantly subjoin'd to justify and a.s.sert the Reason of it. Where I only offer a Conjecture, and do not disturb the Text, I fairly set forth my Grounds for such Conjecture, and submit it to Judgment. Some Remarks are spent in explaining Pa.s.sages, where the Wit or Satire depends on an obscure Point of History: Others, where Allusions are to Divinity, Philosophy, or other Branches of Science. Some are added to shew where there is a Suspicion of our Author having borrow'd from the Ancients: Others, to shew where he is rallying his Contemporaries; or where He himself is rallied by them. And some are necessarily thrown in, to explain an obscure and obsolete _Term_, _Phrase_, or _Idea_. I once intended to have added a complete and copious _Glossary_; but as I have been importun'd, and am prepar'd, to give a correct Edition of our Author's POEMS (in which many Terms occur that are not to be met with in his _Plays_), I thought a _Glossary_ to all _Shakespeare_'s Works more proper to attend that Volume.

In reforming an infinite Number of Pa.s.sages in the _Pointing_, where the Sense was before quite lost, I have 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 Pa.s.sages 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 Pa.s.sages 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 Const.i.tution, 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 a.s.semblage of _Ideas_, and in the putting Those together with Quickness and 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 Manner.

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 celebrated 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 _Coriola.n.u.s_. 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: _it not being 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 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 G.o.d 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 to 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 Inst.i.tution 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.