performing the better half of criticism (namely, the pointing out an author's excellencies) than to fill a whole paper with citations of fine passages, with general applauses, or empty exclamations at the tail of them. There is also subjoined a catalogue of those first editions, by which the greater part of the various readings and of the corrected passages are authorized; most of which are such as carry their own evidence along with them. These editions now hold the place of originals, and are the only materials left to repair the deficiencies or restore the corrupted sense of the author: I can only wish that a greater number of them (if a greater were ever published) may yet be found, by a search more successful than mine, for the better accomplishment of this end.

I will conclude by saying of Shakspeare, that with all his faults, and with all the irregularity of his drama, one may look upon his works, in comparison of those that are more finished and regular, as upon an ancient majestick piece of Gothick architecture, compared with a neat modern building: the latter is more elegant and glaring, but the former is more strong and more solemn. It must be allowed that in one of these there are materials enough to make many of the other. It has much the greater variety, and much the nobler apartments; though we are often conducted to them by dark, odd, and uncouth passages. Nor does the whole fail to strike us with greater reverence, though many of the parts are childish, ill-placed, and unequal to its grandeur.9

9 The following passage by Mr. Pope stands as a preface to the various readings at the end of the 8th volume of his edition of ShakFor the notice of it I am indebted to Mr. Chalmers's speare, 1728. Supplemental Apology, p. 261. REED.

"Since the publication of our first edition, there having been some attempts upon Shakspeare published by Lewis Theobald, (which he would not communicate during the time wherein that edition was preparing for the press, when we, by publick advertisements, did request the assistance of all lovers of this author,) we have inserted, in this impression, as many of 'em as are judg'd of any the least advantage to the poet; the whole amounting to about twenty-five words.

"But to the end every reader may judge for himself, we have annexed a compleat list of the rest; which if he shall think trivial, or erroneous, either in part, or in whole; at worst it can spoil but a half sheet of paper, that chances to be left vacant here. And we purpose for the future, to do the same with respect to any other persons, who either thro' candor or vanity, shall communicate or publish, the least things tending to the illustration of our author. We have here omitted nothing but pointings and meer errors of the press, which I hope the corrector of it has rectify'd; if not, I cou'd wish as accurate an one as Mr. Th. [if he] had been at that trouble, which I desired Mr. Tonson to solicit him to undertake. A. P."

DR. JOHNSON'S

PREFACE.'

THAT praises are without reason lavished on the dead, and that the honours due only to excellence are paid to antiquity, is a complaint likely to be always continued by those, who, being able to add nothing to truth, hope for eminence from the heresies of paradox; or those, who, being forced by disappointment upon consolatory expedients, are willing to hope from posterity what the present age refuses, and flatter themselves that the regard which is yet denied by envy, will be at last bestowed by time.

Antiquity, like every other quality that attracts the notice of mankind, has undoubtedly votaries that reverence it, not from reason, but from prejudice. Some seem to admire indiscriminately whatever has been long preserved, without considering that time has sometimes co-operated with chance; all perhaps are more willing to honour past than present excellence and the mind contemplates genius through the shades of age, as the eye surveys the sun through artificial opacity. The great contention of criticism is to find the faults of the moderns, and the beauties of the ancients. While an author is yet living, we estimate his powers by his worst performance, and when he is dead, we rate them by his best.

To works, however, of which the excellence is not absolute and definite, but gradual and comparative; to works not raised upon principles demonstrative and scientifick, but appealing wholly to observation and ex

1 First printed separately in 1765.

perience, no other test can be applied than length of duration and continuance of esteem. What mankind have long possessed they have often examined and compared, and if they persist to value the possession, it is because frequent comparisons have confirmed opinion in its favour. As among the works of nature, no man can properly call a river deep, or a mountain high, without the knowledge of many mountains, and many rivers; so in the productions of genius, nothing can be styled excellent till it has been compared with other works of the same kind. Demonstration immediately displays its power, and has nothing to hope or fear from the flux of years; but works tentative and experimental must be estimated by their proportion to the general and collective ability of man, as it is discovered in a long succession of endeavours. Of the first building that was raised, it might be with certainty determined that it was round or square; but whether it was spacious or lofty must have been referred to time. The Pythagorean scale of numbers was at once discovered to be perfect; but the poems of Homer we yet know not to transcend the common limits of human intelligence, but by remarking, that nation after nation, and century after century, has been able to do little more than transpose his incidents, new name his characters, and paraphrase his sentiments.

The reverence due to writings that have long subsisted arises therefore not from any credulous confidence in the superior wisdom of past ages, or gloomy persuasion of the degeneracy of mankind, but is the consequence of acknowledged and indubitable positions, that what has been longest known has been most considered, and what is most considered is best understood.

The poet, of whose works I have undertaken the revision, may now begin to assume the dignity of an ancient, and claim the privilege of established fame and prescriptive veneration. He has long outlived his century?, the term commonly fixed as the test of literary

"Est vetus atque probus, centum qui perficit annos." Hor.

STEEVENS.