edition. It was not indeed till I came to write out my notes for the press that I examined his with any thoroughness.
'Notes,' says Johnson, 'are often necessary, but they are necessary evils[1].' To the young reader who for the first time turns over Boswell's delightful pages I would venture to give the advice Johnson gives about Shakespeare:—
'Let him that is yet unacquainted with the powers of Shakespeare, 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[2].'
So too let him who reads the Life of Johnson for the first time read it in one of the Pre-Crokerian editions. They are numerous and good. With his attention undiverted by notes he will rapidly pass through one of the most charming narratives that the world has ever seen, and if his taste is uncorrupted by modern extravagances, will recognise the genius of an author who, in addition to other great qualities, has an admirable eye for the just proportions of an extensive work, and who is the master of a style that is as easy as it is inimitable.
Johnson, I fondly believe, would have been pleased, perhaps would even have been proud, could he have foreseen this edition. Few distinctions he valued more highly than those which he received from his own great University. The honorary degrees that it conferred on him, the gown that it entitled him to wear, by him were highly esteemed. In the
Clarendon
