ABSTRACT
From a Catalogue annexed to the last Edition of Shakespeare it appears that only Six of his Plays have escaped the Ravages of critical Temerity, or theatrical Presumption. They have suffered equally under the Hands of the Learned and the Ignorant, the Academick and the Player*. Those who have succeeded best in their Attempts have omitted many Beauties which they could not torture to their own Designs.† Where the Drama has been contracted, the Catastrophe has been unnaturally hastened.‡
Where Deficiencies have been supplyed, they have been always such as refuse to coalesce with the Stile and Structure of the Original*; non vultus non color unus.1 The Scenes have sometimes been abridged, to favour the Indolence of a Performer; and sometimes (to gratify his paltry Ambition of uttering the most splendid Lines in the Piece) the Sentiments and Imagery appropriated to one Character have been transferred to another,†
He who should attend the Representation of Shakespeare’s Tragedies as they were first written might perhaps complain of their Length; but when they are curtailed for Exhibition we are certain to discover that somewhat materially necessary to Display of Character, or Perspicuity of Fable, has been removed.‡
Shakespeare seems to have been regarded as an Author who might be safely amplified or abbreviated as Chance or Interest should direct; and because succeeding Writers have so confidently talked of the Dramatick Art of Ben Jonson, we have too precipitately allowed that a less Degree of it was to be found in his great
Contemporary. But the Reverse is indisputably the Truth. Shakespeare, together with his Art, possessed the happy Power of disguising it. The Progress of his Events in general, so nearly approaches to the ordinary course of Nature that it should seem as if Contrivance had little Share in its Direction. In Shakespeare, as in Jonson, we enjoy all the brightness of the Lamp; but it is in the latter only that we are offended by its Exhalations.
