Page:The Plays of William Shakspeare (1778).djvu/155

 was the very thing that kept them attached to it. The ostentatious affectation of abstruse learning, peculiar to that time, the love that men naturally have to every thing that looks like mystery, fixed them down to the habit of obscurity. Thus became the poetry of (though the wittiest man of that age) nothing but a continued heap of riddles. And our Shakespeare, with all his easy nature about him, for want of the knowledge of the true rules of art, falls frequently into this vicious manner.

The third species of obscurities which deform our author, as the effects of his own genius and character, are those that proceed from his peculiar manner of thinking, and as peculiar a manner of cloathing those thoughts. With regard to his thinking, it is certain, that he had a general knowledge of all the sciences: but his acqnaintance was rather that of a traveller than a native. Nothing in philosophy was unknown to him; but every thing in it had the grace and force of novelty. And as novelty is one main source of admiration, we are not to wonder that he has perpetual allusions to the most recondite parts of the sciences: and this was done not so much out of affectation, as the effect of admiration begot by novelty. Then, as to his stile and diction, we may much more justly apply to, what a celebrated writer said of : Our language sunk under him, and was unequal to that greatness of soul which furnished him with such glorious conceptions. He therefore frequently uses old words, to give his diction an air of solemnity; as he coins others, to express the novelty and variety of his ideas.

Upon every distinct species of these obscurities, I have thought it my province to employ a note for the service of my author, and the entertainment of my readers. A few transient remarks too I have not scrupled to intermix, upon the poet’s negligences and omissions in point of art; but I have done it always in such a manner, as will testify my deference and veneration for the immortal author. Some censurers of Shakespeare, and particularly Mr. Rymer, have taught me to distinguish betwixt the railer and critick. The putrage of his quotations is so remarkably violent, so pushed beyond all bounds of decency and sober reasoning, that it quite carries over the mark at which it was levelled. Extravagant abuse throws off the edge of the intended disparagement, and turns the madman’s weapon into his own bofom. In short, as to Rymer, this is my opinion of