The Shakespeare-Expositor. Thomas Keightley

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СКАЧАТЬ substitutions are often quite capricious, making no sense whatever. For "he went circuit," where my manuscript was perfectly legible, I once got "the local circuit;" so also "the merits" for "there an echo;" "establishment" for "established government." In Alison's Life of Lord Castlereagh, one of the pall-bearers at the funeral of the Duke of Wellington was Sir Peregrine Pickle (Maitland); in all editions of Joseph Andrews we have in one place "Sir John" for "Sir Thomas" Booby.

      It is to be observed that to unto, till until, on upon, though although, e'er ever, &c., were frequently confounded. It is therefore the merest printer-worship to hesitate at altering them when the metre requires it. A further observation is, that even down into the eighteenth century, it was the custom to write y for th in monosyllables beginning with this last (þ, A. S.), as y^e the, yⁿ then, y^t that, y^u thou; y^r your was another abridgment; and hence confusion has often arisen. In these plays we have that for then in four places (see on Tr. and Cr. i. 2); and in Paradise Regained (i. 137) we have then for thou, and also, I think, in Tw. Night, v. 1.

      11.

      Such, then, are the various sources of error in the original editions of Shakespeare's plays, the correction of which and restoration of the poet's real sense are, as I have said, the task of the genuine critic, and one in which, except in a very few instances, success is not to be by any means despaired of.

      As a means of obtaining it, I would, as I have done, lay it down as a rule that no word or phrase should be employed in restoration which is not to be found in the poet's own works, or at least in those of his contemporaries. It is obvious that by so doing we shall greatly diminish the risk of failure. It is a curious fact, that not unfrequently two or even three corrections are so equally good, that it is exceedingly difficult to choose between them, and that the final choice thus becomes a matter of mere chance. In such cases I think the critic should select the one which is the most poetic and most worthy of the poet. The coincidence of two or more independent critics in a correction is, in general, a proof of its truth; yet even this is not infallible. See on Merry Wives, ii. 3.

      For correction, then, the first requisite is a thorough knowledge of the poet's language, the acquisition of which is a work demanding both time and close attention. Shakespeare's vocabulary, as we have seen, is extremely copious, and from his not having had the advantage of a regular education his plays present more anomalies, and offer more difficulties to the modern reader than those of the contemporary dramatists.

      In his early pieces there is an incessant play on words; and in his later the language is often very elliptical and the sentences greatly involved. These difficulties are enhanced by the ignorance of punctuation, or neglect of it, with which the editors are chargeable. Thus it is only in very plain cases that they notice the break in sense caused by the aposiopesis, the anacoluthon, or an interruption, of which the reader will find so many examples in my Edition and in the following pages, marked for the first time, and designated by the sign (…). I would particularly direct his attention to Temp. iii. 1, 2 Hen. IV. iv. 1, Ham. i. 2, i. 4.

       12.

      In the dramas and other works of those days we may observe the following peculiarities.

      The infinitive mood is used with or without to differently from the present usage—prefixed where we omit, omitted where we prefix. It is also employed, like the Hebrew infinitive absolute, where we use the present participle active, sometimes with a preposition, ex. gr.,

      Copious in words, and one that much time spent

      To jest.

      Lydgate, Book of Troy.

      Even in Cowley we meet with

      The sun himself, although all eye he be,

      Can find in love more pleasure than to see.

      The Gazers.

      Here it is plain we should use the participle in seeing.

      In "He is grown too proud to be so valiant," Cor. i. l, "to be" seems to be i. q. being; too being apparently used in the sense of trop, Fr., i.e. excessively.

      The passive participle was continually used in the place of the present or past participle active or of the future. Chapman, for instance, is profuse in his use of it in his Homer. Of this, as of the former, we have some remains among us still, but few indeed compared with what our forefathers had. The perfect was also frequently used as a part. past, and of this also we have still some remains.

      In imitation of the Latin and French, the writers of the sixteenth century—for we do not meet with it in Chaucer or Gower—used the verb as a noun, as dispose for disposal, suspect for suspicion.

      A further peculiarity was the use of what grammarians call collectives, i.e., the singular noun used for the plural. We still retain this in sheep, swine, fowl, and partially in year, day; but in our older writers we meet with it in horse (Much Ado, i. 1, Hen. V. iv. 1, and in Chapman's Homer continually), pearl (Macb. ad fin.), tree, corpse, witness, business, subject, princess (Temp. i. 2), and other words.

       Writers of those days—and Shakespeare more than any—were fond of using verbs in a causative sense, as fall for cause to fall, let fall, fear for make fear. In these plays we meet, in a causative sense, with cease, linger, neglect, silence, faint, perish, &c. Thus learn became teach, take give. It is only thus that "smiles his cheek in years" (L. L. L. v. 2) becomes sense.

      13.

      There was a peculiarity of the grammar of those days which is now confined to the vulgar, namely, that of joining a plural nominative with a singular verb, ex. gr.,

      That in this spleen ridiculous appears,

      To check their folly, passions solemn tears.

      L. L. L. v. 2.

      The rimes here and in several other places prove that this is no printer's error; and this construction is actually most frequent in Peele, Marston, and Fletcher—all University men! Editors, Mr. Dyce for example, are in the habit of taking the most unwarrantable liberty of altering this construction, except where restrained by the rimes. This practice is highly reprehensible and should be avoided; for we should give the text as it came from the poet's pen.

      The origin of this structure is very simple. In the Anglo-Saxon the verbs made their plural in th, not in n, as afterwards became the usage. This plural of the verb occurs continually in the Vision of Piers Ploughman, and we find it not unfrequently even in the State Papers of the early Tudor period, in its later form; for, as in the singular, the th was gradually changed to s.

      In the more artistic compositions of Chaucer and Gower, however, it is very rare. The following line in Chaucer,

      As flakès fallès in grete snowes,

      House of Fame.

       shows that even in his time the th had been converted into s. The present practice, then, we may СКАЧАТЬ