any indulgence to my private sense or conjecture. The method taken in this edition will shew itself. The various readings are fairly put in the margin, so that every one may compare them; and those I have preferred into the text are constantly ex fide codicum, upon authority. The alterations or additions, which Shakespeare himself made, are taken notice of as they occur. Some suspected passages which are excessively bad (and which seem interpolations by being so inserted, that one can entirely omit them without any chasm, or deficience in the context) are degraded to the bottom of the page; with an asterisk referring to the places of their insertion. The scenes are marked so distinctly, that every removal of place is specified; which is more necessary in this author than any other, since he shifts them more frequently; and sometimes, without attending to this particular, the reader would have met with obscurities. The more obsolete or unusual words are explained. Some of the most shining passages are distinguished by commas in the margin; and where the beauty lay not in particulars, but in the whole, a star is prefixed to the scene. This seems to me a shorter and less ostentatious method of 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 Shakespeare, 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
