is a stranger to, at the expence of his own reputation, and the integrity of the text of established authors. But these uses may be well supplied by what is occasionally said upon the subject, in the course of the following remarks.
II. The second sort of notes consists in an explanation of the author’s meaning, when, by one or more of these causes, it becomes obscure; either from a licentious use of terms, or a hard or ungrammatical construction; or lastly, from far-fetched or quaint allusions.
1. This licentious use of words is almost peculiar to the language of Shakespeare. To common terms he hath affixed meanings of his own, unauthorized by use, and not to be justified by analogy. And this liberty he hath taken with the noblest parts of speech, such as mixed modes; which, as they are most susceptible of abuse, so their abuse most hurts the clearness of the discourse. The criticks (to whom Shakespeare’s licence was still as much a secret as his meaning, which that licence had obscured) fell into two contrary mistakes; but equally injurious to his reputation and his writings. For some of them, observing a darkness that pervaded his whole expression, have censured him for confusion of ideas and inaccuracy of reasoning. In the neighing of a horse (says Rymer) or in the growling of a mastiff, there is a meaning, there is a lively expresion, and, may I say, more humanity than many times in the tragical flights of Shakespeare. The ignorance of which censure is of a piece with its brutality. The truth is, no one thought clearer, or argued more closely than this immortal bard. But his superiority of genius less needing the intervention of words in the act of thinking, when he came to draw out his contemplations into discourse, he took up (as he was hurried on by the torrent of his matter) with the first words that lay in his way; and if, amongst these, there were two mixed modes that had but a principal idea in common, it was enough for him; he regarded them as synonymous, and would use the one for the other without fear or scruple.—Again, there have been others, such as the two last editors, who have fallen into a contrary extreme; and regarded Shakespeare’s anomalies (as we may call them) amongst the corruptions of his text; which, therefore, they have cashiered in great numbers, to make room for a jargon of their own. This hath put me to additional trouble; for I had not only their interpolations to throw out again, but the genuine text to replace, and establish in its stead; which, in many cases, could not be done without
