When Mr. Pope first undertook the task of revising these plays, every anomaly of language, and every expression that was not understood at that time, were considered as errours or corruptions, and the text was altered, or amended, as it was called, at pleasure. The principal writers of the early part of this century seem never to have looked behind them, and to have considered their own era and their own phraseology as the standard of perfection: hence from the time of Pope’s edition, for above twenty years, to alter Shakspeare’s text and to restore it, were considered as synonymous terms. During the last thirty years our principal employment has been to restore, in the true sense of the word; to eject the arbitrary and capricious innovations made by our predecessors from ignorance of the phraseology and customs of the age in which Shakspeare lived.
As on the one hand our poet’s text has been described as more corrupt than it really is, so on the other, the labour required to investigate fugitive allusions, to explain and justify obsolete phraseology by parallel passages from contemporary authours, and to form a genuine text by a faithful collation of the original copies, has not perhaps had that notice to which it is entitled; for undoubtedly it is a laborious and a difficult task: and the due execution of this it is, which can alone entitle an editor of Shakspeare to the favour of the publick.
I have said that the comparative value of the various ancient copies of Shakspeare’s plays has never been precisely ascertained. To prove this, it will be necessary to go into a long and minute discussion, for which,
