and antiquarian commentators kill one another in the dark, or bury all dramatic life under the far-fetched spoils of their learning. A reader of the new Variorum edition of Shakespeare soon falls into the habit, when he meets with an obscure passage, of consulting Johnson’s note before the others. Whole pages of complicated dialectic and minute controversy are often rendered useless by the few brief sentences which recall the reader’s attention to the main drift, or remind him of some perfectly obvious circumstance.
It must not be forgotten that Johnson was, after all, a master of the English language. He was not an Elizabethan specialist, but his brief account of the principal causes of Shakespeare’s obscurities has never been bettered. Some of these obscurities are due to the surreptitious and careless manner of publication; some to the shifting fashions, and experimental licence of Elizabethan English. In a few terse sentences Johnson adds an account of those other obscurities which belong to the man rather than to the age. ‘If Shakespeare has difficulties above other writers, it is to be imputed to the nature of his work, which required the use of common colloquial language, and consequently admitted many phrases allusive, elliptical and proverbial;… to which might be added the fullness of idea, which might sometimes load his words with more sentiment than they could conveniently carry, 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
