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DR. JOHNSON'S PREFACE
That praises are without reason lavished on the dead, and that the honors due only to excellence are paid to antiquity, is a complaint likely to be always continued by those, who, being able to add nothing to truth, hope for eminence from the beresies of paradox; or those, who, being forced by disappointment on consolatory expedients, are willing to hope from posterity what the present age refuses, and Aatter themselves that the regard which is yet denied by envy, will be at last bestowed by time.
Antiquity, like every other quality that attracts the notice of mankind, has undoubtedly votaries that reverence it, not from reason, but from prejudice. Some seem to admire indiscriminately whatever has been long preserved, without considering that time has sometimes co-operated with chance : all perhaps are more willing to honor past than present excellence; and the mind contemplates genius through the shades of age, as the eye surveys the sun through artificial opacity. The great contention of criticism is to find the faults of the moderns and the beauties of the ancients. While an awthor is yet living, we estimate his powers by his worst performance; ard when he is dead, we rate them hy bis best,
To works, however, of which the excellence is not absolute and definite, but gradual and comparative; to works not raised on principles demonstrative and scientific, but appealing wholly to observation and experience, no other test can be applied than length of duration and continuance of esteem. What mankind have long possessed they have often examined and compared ; and if they persist to value the possession, it is because frequent comparisons have confirmed opinion in its favor. As among the works of nature no man can properly call a river deep, or a mountain high, without the knowlege of many mountains and many rivers ; so in the production of genius, nothing can be styled excellent till it has been compared with other works of the same kind. Demonstration inmediately displays its power, and has nothing to hope or fear from the flux of years; but works tentative and experi. mental must be estimated by their proportion to the general and collective ability of man, as it is discovered in a long succession of endeavors. Of the first building that was raised, it might be with certainty determined that it was round or square; but whether it was spacious or lofty must have been referred to time. The Pythagorean scale of numbers was at once discovered to be perfect; but the poems of Homer we yet know not to transcend the common liunits of human intelligence, but by remarking, that nation after nation, and century after century, has been able to do little more than transpose his incidents, new name his characters, and paraphrase his sentiments.
The reverence due to writings that have long subsisted arises therefore not from any credulous confidence in the superior wisdom of past ages, or gloomy persuasion of the degeneracy of mankind, but is the consequence of acknowleged and indubitable positions, that what bas been longest known has been most considered, and what is most considered is best understood.
The poet, of whose works I have undertaken the revision, may now begin to assume the dignity of an ancient, and claim the privilege of an established fame and prescriptive veneration. He has long outlived his century, the term commonly fixed as the test of literary merit. Whatever advantages he might once derive from personal allusions, local customs, or temporary opinions, have for many years been lost; and every topic of merriment, or motive of sorrow, which the modes of artificial life afforded him, now only obscure the scenes which they once illuminated. The effects of favor and competition are at an end; the tradition of his friendships and his enmities has perished; his works support no opinion with arguments, nor supply any faction with invectives; they can neither indulge vanity, nor gratify malignity ; but are read without any other reason than the desire of pleasure, and are therefore praised only as pleasure is obtained ; yet, thus unassisted by interest or passion, they have passed through variations of taste and changes of manners, and, as they devolved from one generation to another, have received new honors at every transmission.
But because human judgment, though it be gradually gaining upon certainty, never becomes infallible ; and approbation, though long continued, may yet be only the approbation of prejudice or fashion ; it is proper to inquire, by what peculiarities of excellence Shakspeare has gained and kept the favor of his countrymen.
Nothing can please many, and please long, but just representations of general nature.
Particular manners can be known to few, and therefore few only can judge how nearly they are cupied. The irregular combinations of fanciful invention may delight awhile, by that novelty of which the common satiety of life sends us all in quest; the pleasures of sudden wonder are soon exhausted, and the mind can only repose on the stability of truth.
Shakspeare is above all writers, at least above all modern writers, the poet of nature ; the poet that holds up to bus readers a faithful mirror of manners and of life. His characters are not modified by the customs of particular places, unpractised by the rest of the world ; by the peculiarities of studies or professions, which can operate but on small nam. bers; or by the accidents of transient fashions or temporary opinions : they are the genuine progeny of common humanity, such as the world will always supply, and observation will always find. His persons act and speak by the influence of those general passions and principles by which all minds are agitated, and the whole system of life is continued in motion. In the writings of other poets a character is too often an individual ; in those of Shakspeare it is commonly a species.
It is from this wide extension of design that so much in. struction is derived. It is this which fills the plays of Shakspeare with practical axioms and domestic wisdom. It was said of Euripides, that every verse was a precept; and it may be said of Shakspeare, that from his works may be collected a system of civil and economical prudence. Yet his real power is not shown in the splendor of particular passages, but by the progress of his fable, and the tenor of his dialogue; and he that tries to recommend him by select quotations, will succeed like the pedant in Hierocles, who, when he offered his house to sale, carried a brick in his pocket as a specimen.
It will not easily be imagined how much Shakspeare excels in accommodating his sentiments to real life, but by comparing him with other authors. It was observed of the ancient schools of declamation, that the more diligently they were frequented, the more was the student disqualified for the world, because he found nothing there which he should ever meet in any other place. The same remark may be applied to every stage but that of Shakspeare. The theatre, when it is under any other direction, is peopled by such characters as were never seen, conversing in a language which was never heard, upon topics which will never arise in the commerce of wankind. But the dialogue of this author is often so evidently
determined by the incident which produces it, and is pursued with so much ease and simplicity, that it seems scarcely to claim the merit of fiction, but to have been gleanea by diligent selection out of common conversation and comnion occur. rences.
On every other stage the universal agent is love, by whose power all good and evil is distributed, and every action quickened or retarded. To bring a lover, a lady, and a rival into the fable; to entangle them in contradictory obligations, perplex them with oppositions of interest, and harass them with violence of desires inconsistent with each other; to make them meet in rapture, and part in agony ; to fill their muouths with hyperbolical joy and outrageous sorrow; to distress them as nothing human ever was distressed ; to deliver them as nothing human ever was delivered, is the business of a modern dramatist. For this, probability is violated, life is misrepresented, and language is depraved. But love is only one of many passions; and as it has no great influence on the sum of life, it has little operation in the dramas of a poet, who caught his ideas from the living world, and exhibited only what he saw before him. He knew, that any other passion, as it was regular or exorbitant, was a cause of hap piness or calamity.
Characters thus ample and general were not easily discriminated and preserved, yet perhaps no poet ever kept his personages more distinct from each other. I will not say with Pope, that every speech may be assigned to the proper speaker, because many speeches there are which have nothing characteristical; but, perhaps, though some may be equally adapted to every person, it will be difficult to find any that can be properly transferred from the present possessor to another claimant. The choice is right, when there is reason for choice.
Other dramatists can only gain attention by hyperbolical or aggravated characters, by fabulous and unexampled excellence