'He for subscribers baits his hook,
And takes your cash, but where's the book?
No matter where; wise fear, you know,
Forbids the robbing of a foe,
But what, to serve our private ends,
Forbids the cheating of our friends?'
Not only Johnson's constitutional indolence and desultory habits, but
also the deficiency of his eye-sight, incapacitated him for the task of
minute collation. Nevertheless, he did consult the older copies, and has
the merit of restoring some readings which had escaped Theobald. He had
not systematically studied the literature and language of the 16th and
17th centuries; he did not always appreciate the naturalness,
simplicity, and humour of his author, but his preface and notes are
distinguished by clearness of thought and diction and by masterly common
sense. He used Warburton's text, to print his own from. The readings and
suggestions attributed to 'Johnson,' in our notes, are derived either
from the edition of 1765, or from those which he furnished to the
subsequent editions in which Steevens was his co-editor. Some few also
found by the latter in Johnson's hand on the margin of his copy of
'Warburton,' purchased by Steevens at Johnson's sale, were incorporated
in later editions. Johnson's edition was attacked with great acrimony by
Dr Kenrick, 1765 (Boswell, Vol. II. p. 300). It disappointed the public
expectation, but reached, nevertheless, a second edition in 1768.
Tyrwhitt's _Observations and Conjectures_ were published anonymously in
1766.
Capell's edition (10 volumes, small 8vo) was not published till 1768,
though part of it had gone to press, as the editor himself tells us, in
September, 1760. It contained the Plays in the order of the first and
second Folios, with a preface, of which Dr Johnson said, referring to
_Tempest_, I. 2. 356, 'The fellow should have come to me, and I would
have endowed his purpose with words. As it is he doth gabble
monstrously.'
Defects of style apart, this preface was by far the most valuable
contribution to Shakespearian criticism that had yet appeared, and the
text was based upon a most searching collation of all the Folios and of
all the Quartos known to exist at that time. Capell's own conjectures,
not always very happy, which he has introduced into his text, are
distinguished by being printed in black letter.
The edition before us contains the scansion of the lines, with
occasional verbal as well as metrical corrections, marked in red ink, in
Capell's hand. This was done, as he tells us in a note prefixed to Vol.
I., in 1769.
He described, much more minutely than Pope had done, the places of the
scenes, and made many changes, generally for the better, in the stage
directions.
In his peculiar notation, _Asides_ are marked by inverted commas, and
obvious stage business is indicated by an obelus.
In a note to his preface, p. xxiii, Capell says:
'In the manuscripts from which all these plays are printed, the
emendations are given to their proper owners by initials and other marks
that are in the margin of those manuscripts; but they are suppressed in
the print for two reasons: First their number, in some pages, makes them
a little unsightly; and the editor professes himself weak enough to like
a well-printed book; in the next place, he does declare, that his only
object has been to do service to his Author; which provided it be done,
he thinks it of small importance by what hand the service was
administer'd,' &c.
By this unfortunate decision, Capell deprived his book of almost all its
interest and value[11]. And thus his unequalled zeal and industry have
never received from the public the recognition they deserved.
In 1774, a volume of notes[12] was printed in quarto, and in 1783, two
years after his death, appeared _Notes, Various Readings, and the School
of Shakespeare_, 3 vols. 4to.[13] The printing of this work was begun in
1779.
George Steevens, who had edited in 1766 a reprint of Twenty of the Plays
of Shakespeare from the Quartos, at a time, when, as he himself
afterwards said, he was 'young and uninformed,' and had been in the
meanwhile one of Johnson's most active and useful correspondents, was
formally associated with him as Editor in 1770 (Boswell, Vol. III.
p. 116). At Steevens's suggestion, Johnson wrote to Dr Farmer of
Emmanuel College, Cambridge, requesting him to furnish a Catalogue of
all the Translations Shakespeare might have seen and used. Hence, it
seems, Farmer took an interest in the successive editions, and supplied
many valuable notes and acute conjectural readings. It was on Farmer's
authority that _Pericles_ has been re-admitted among the Plays of
Shakespeare.
The first edition of Johnson and Steevens appeared in 1773. The
improvements in this edition, as compared with those which bore
Johnson's name only, are evidently the work of the new editor, who
brought to the task diligent and methodical habits and great antiquarian
knowledge, thus supplementing the defects of his senior partner.
J. Collins, editor of Capell's _Notes_ &c. charged Steevens with
plagiarism from Capell. Steevens denied the charge. The second edition
came out in 1778; the third in 1785; and the fourth in 1793. In this
edition Steevens made many changes in the text, as if for the purpose of
differing from the cautious Malone, now become a rival.
Edmond Malone contributed to Steevens his _Attempt to ascertain the
order in which the plays attributed to Shakespeare were written_; in
1780, published a _Supplement_ to the edition of 1778, containing the
Poems, the seven plays from F3, notes, &c., and moreover distinguished
himself by various researches into the history and literature of the
early English stage. He published in 1790 a new edition of Shakespeare
in 10 volumes, 8vo, containing the Plays and Poems, 'collated verbatim
with the most authentic copies, and revised,' together with several
essay and dissertations, among the rest that on the order of the plays,
corrected and enlarged.
The animosities which both Steevens and Malone had the misfortune to
excite, have had the effect of throwing some slur on their names as
editors, and even as men, and have prevented the fair appreciation and a
due acknowledgment of the services they rendered jointly and severally
to English literature.
The learning and ability displayed by Malone in denouncing Ireland's
most clumsy and palpable of frauds, would have sufficed for the
detection of the most cunningly conceived and skilfully executed.
Among the critics of this time may be mentioned (1) Joseph Ritson, who
published in 1783 his _Remarks, &c._ on the second edition of Johnson
and Steevens, and in 1788, _The Quip Modest_, on the third edition, and
(2) John Monck Mason, whose _Comments_ appeared in 1785, and _Further
Observations_ in 1798.
In 1803 appeared an edition in 21 volumes 8vo, edited by Isaac Reed.
This is called on the title-page 'the Fifth Edition,' _i.e._ of Johnson
and Steevens. It is generally known as the first _variorum_ edition.
Chalmers's edition, 9 vols. 8vo, 1805, professes to be printed from the
corrected text left by Steevens. The 'sixth edition' of Johnson and
Steevens, or the second _variorum_, appeared in 1813, also edited by
Reed; the 'seventh,' or third _variorum_, in 1821, edited by James
Boswell, from a corrected copy left by Malone.
Among those whose notes were communicated to or collected by various
editors from Johnson to Boswell, the best known names are the following:
Sir William Blackstone, Dr Burney, Bennet Langton, Collins the poet, Sir
J. Hawkins, Musgrave, the editor of _Euripides_, Dr Percy, editor of the
_Reliques_, and Thomas Warton. Less known names are: Blakeway,
J. Collins, Henley, Holt White, Letherland, Roberts, Seward, Smith,
Thirlby, Tollet, and Whalley[14].
Harness's edition, 8 volumes, 8vo, appeared in 1825.
Of the comments published separately during the present century the
principal are:
1. _Remarks, &c._, by E. H. Seymour, 2 vols, 8vo, 1805, in which are
incorporated some notes left by Lord Chedworth.
2. _Shakspeare's himself again_, by Andrew Becket, 2 vols, 8vo. 1815.
The author has indulged in a license of conjecture and of interpretation
which has never been equalled before or since. We have nevertheless
generally given his conjectures, except when he has gone the length of
inventing a word.
3. _Shakspeare's Genius Justified_, by Zachary Jackson, 1 vol. 8vo,
1811. As the author himself had been a printer, his judgement on the
comparative likelihood of this and that typographical error is worth all
consideration. But he sometimes wanders 'ultra crepidam[15].'
Douce's _Illustrations to Shakespeare_, 2 vols. 8vo, 1807, ought to be
mentioned as a work of great antiquarian research, though he rarely
suggests any new alteration of the text, and his name therefore will
seldom occur in our notes.
The more recent editions of Shakespeare are so well known and so easily
accessible, that it is unnecessary for us, even were it becoming in this
place, to undertake the invidious task of comparing their respective
merits.
It will suffice to mention the names of the editors in the order of
their first editions: S. W. Singer, Charles Knight, Barry Cornwall,
J. Payne Collier, S. Phelps, J. O. Halliwell, Alex. Dyce, Howard
Staunton.
We have also to mention the edition of Delius, 7 vols. 8vo, Elberfeld,
1854-61, the English text, with concise notes, critical and explanatory,
in German, and that of Mr Richard Grant White (known as the author of
_Shakespeare's Scholar_, 1854), published at Boston, United States,
1857.
In 1853, Mr J. Payne Collier, published in 1 vol. 8vo, _Notes and
Emendations to the text of Shakespeare's Plays, from early manuscript
corrections, in a copy of the Folio 1632_, in his own possession. All
the emendations given in this volume by Mr Collier, or subsequently as
an Appendix to Coleridge's _Lectures_, except, of course, where they
have been anticipated, have been recorded in our notes.
We have no intention of entering into the controversy respecting the
antiquity and authority of these corrections, nor is it necessary to
enumerate the writings on a subject which is still so fresh in the
memory of all.
M. Tycho Mommsen, of Marburg, who published the most elaborate work on
the so-called 'Perkins Folio,' also published in 1859 the text of the
first Quartos of _Romeo and Juliet_, with a collation of the various
readings of all editions down to Rowe's, a full description of the
critical value of the different texts, and an inquiry into the
versification, and incidentally the grammar and orthography of
Shakespeare. The precise rules which he lays down disappear, for the
most part, on a wider induction, and we greatly question whether it be
worth while to register and tabulate such minutiæ as do not represent in
any way Shakespeare's mind or hand, but only the caprices of this or
that compositor, at a period when spelling, punctuation, and even rules
of grammar, were matters of private judgement.
But M. Mommsen's industry is beyond praise, and his practice of using
the labours of English Editors, without insulting them, is worthy of all
imitation[16].
Among the works to which reference will be found in our edition are the
following:
Coleridge's _Literary Remains_: Dr Guest's _History of English Rhythms_:
_the Versification of Shakespeare_, by W. Sidney Walker, (1854), and
_Criticisms_, by the same, 3 vols., post 8vo, (1860), edited by Mr
Lettsom, who has also contributed in his notes some suggestions for the
improvement of the text. It is to be regretted that these volumes have
not been accompanied by an Index. Dr. Charles Badham's article in the
_Cambridge Essays_, 1856, contains many ingenious suggestions.
We have borrowed from several literary journals, the _Athenæum_, _Notes
and Queries_, and the _Parthenon_, and from Magazines, the conjectures
of their correspondents. When the real name of the correspondent, or
what might be such, was signed, we have given it in our notes, as
'Hickson,' 'S. Verges' (from _Notes and Queries_). When the name was
obviously fictitious, or when the article was not signed at all, we have
noted it thus: 'Anon. (N. and Q.) conj.,' 'Anon. (Fras. Mag.) conj.,'
&c., referring to _Notes and Queries_, _Fraser's Magazine_, &c.
'Spedding,' 'Bullock,' 'Lloyd,' 'Williams,' 'Wright,' indicate
respectively our correspondents, Mr James Spedding, Mr John Bullock, of
Aberdeen, the Rev. Julius Lloyd, Mr W. W. Williams, of Oxford, and Mr
W. Aldis Wright, to each and all of whom we beg to return our best
thanks. We have also to thank Mr Archibald Smith, Mr C. W. Goodwin, Mr
Bolton Corney, Mr N. E. S. A. Hamilton, Mr J. Nichols, Mr Jourdain, Dr
Brinsley Nicholson, Mr Halliwell, Dr Barlow, Mr Grant White, Mr B. H.
Bright, Mr Henry A. Bright, and Mr Bohn, for friendly suggestions and
kind offers of assistance.
The proposed emendations, marked 'Anon. conj.' are those which we have
not been able to trace, or those in which the authors have not
sufficient confidence to acknowledge them.
Those proposed with some confidence by the present editors are marked
'Edd. conj.'
In conclusion, we commend this volume, the first product of long labour,
to the indulgent judgement of critics. In saying this we are not merely
repeating a stereotyped phrase. We have found errors in the work of the
most accurate of our predecessors. We cannot hope to have attained
perfect accuracy ourselves, especially when we consider the wide range
which our collation has embraced, and the minute points which we have
endeavoured to record, but at all events we have spared no pains to
render our work as exact as we could. Those who have ever undertaken a
similar task will best understand the difficulty, and will be most ready
to make allowance for shortcomings. 'Expertus disces quam gravis iste
labor.'
W. G. C.
J. G.
The five plays contained in this volume occur in the first Folio in the
same order, and, with one exception, were there printed for the first
time.
In the case of _The Merry Wives of Windsor_, two Quartos (Q1 and Q2),
imperfect copies of an earlier play, appeared in 1602 and 1619, the
second a reprint of the first. They are described in a special
Introduction to that play, and a reprint of Q1, collated with Q2,
follows it. A third Quarto (Q3) was printed from F1 in 1630.
_The Tempest_ was altered by Dryden and D'Avenant, and published as _The
Tempest; or the Enchanted Island_, in 1669. We mark the emendations
derived from it: 'Dryden's version.' D'Avenant, in his _Law against
Lovers_ fused _Measure for Measure_ and _Much ado about Nothing_ into
one play. We refer to his new readings as being from 'D'Avenant's
version.'
[Footnote 1: A third editor was afterwards added. Mr Luard's
election to the office of Registrary compelled him to relinquish
his part, at least for the present; and the first volume,
consequently, is issued under the responsibility of two editors
only.]
[Footnote 2: See page xxi.]
[Footnote 3: A passage in the _Return from Parnassus_ compared
with one in Bale's preface to his _Image of Both Churches_ puts
this almost beyond a doubt.]
[Footnote 4: Mr Wright in his preface to _Bacon's Essays_ mentions
that he has collated ten copies of the edition of 1625, 'which
though bearing the same date, are all different from each other in
points of no great importance.']
[Footnote 5: Mr Bohn is mistaken in saying that the Capell copy
has both titles. It has that of 1664 only, with the portrait, and
B. J.'s verses underneath on the opposite page.]
[Footnote 6: Capell's copy now before us contains the following
note in Capell's hand-writing: 'This copy of Mr Theobald's
edition was once Mr Warburton's; who has claim'd in it the notes
he gave to the former which that former depriv'd him of and made
his own, and some Passages in the Preface, the passages being put
between hooks and the notes signed with his name. E. C.' The
passage quoted from Theobald's Preface is one of those between
hooks.]
[Footnote 7: Thomas Rymer, whose book, called _A short View of
Tragedy of the last Age_, 1693, gave rise to a sharp controversy.]
[Footnote 8: Capell, who might be supposed to write 'sine ira et
studio,' denies to Theobald even this merit: 'His work is only
made a little better [than Pope's] by his having a few more
materials; of which he was not a better collator than the other,
nor did he excel him in use of them.' The result of the collations
we have made leads us to a very different conclusion.]
[Footnote 9: Notwithstanding this claim of identity, Warburton
seems to have used Theobald's text to print from. Capell
positively affirms this, (Preface, p. 18).]
[Footnote 10: Dr Johnson told Burney that Warburton, as a critic,
'would make two-and-fifty Theobalds cut into slices.' (Boswell's
_Life of Johnson_, Vol. ii. p. 85. Ed. 1835). From this judgment,
whether they be compared as critics or editors, we emphatically
dissent.]
[Footnote 11: We trust that in our edition the matter which Capell
discarded has been presented in a well-printed book. We have found
no trace of the Manuscripts here spoken of.]
[Footnote 12: In Lowndes's _Manual_ (Bohm), p. 2316, we find
'Notes and Various Readings to Shakespeare. By Edward Capell,
Lond. 1759.' No such book of this date is in the Capell
collection, nor is it ever mentioned elsewhere, so far as we know.
In the preface to the work of 1783, it is mentioned that the first
volume had been printed in 1774, but no allusion is made to any
former edition.]
[Footnote 13: These volumes, together with the whole of
Shakespeare's _Plays_ and Milton's _Paradise Lost_, written out in
Capell's own regular, but not very legible hand, are among his
collection in Trinity College Library.]
[Footnote 14: Steevens was accused of giving, under fictitious
names, notes which he was afraid to sign himself.]
[Footnote 15: The two last-named books, as well as some
suggestions from correspondents, did not reach us till the first
Volume was partly printed. We propose to supply all omissions in
an Appendix to the whole work.]
[Footnote 16: Aber man läuft ein gefährliches Spiel, wenn man
nicht Гјberall offen und bescheiden bekennt, dass man ganz von den
Engländern abhange: ja man scheitert gewiss, wenn man mit der
einen Hand allen Stoff von dem man lebt und athmet ihnen entnimmt,
und mit der andern zum Dank Hohn und Beleidigung auf ihren Namen
wirft. _Vorrede_, pp. vi. vii.]
Erratum Noted by Transcriber
'stolen,' 'surreptitious,' and 'imperfect,'
["surreptitious" missing open quote]
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