speare. Unfortunately we know as little of his writings as of his personal history. The industry of his illustrators for the last thirty years has been such as probably never was surpassed in the annals of literary investigation, yet so far are we from information of the conclusive or satisfactory kind, that even the order in which his plays were written rests principally on conjecture, and of some plays usually printed among his works, it is not yet determined whether he wrote the whole, or any part.

Much of our ignorance of every thing which it would be desirable to know respecting Shakspeare's works, must be imputed to the author himself. If we look merely at the state in which he left his productions, we should be apt to conclude, either that he was insensible of their value, or that while he was the greatest, he was at the same time the humblest writer the world ever produced; "that he thought his works unworthy of "posterity, that he levied no ideal tribute. upon "future times, nor had any further prospect, "than that of present popularity and present "profit."* And such an opinion, although it apparently partakes of the ease and looseness of conjecture, may not be far from probability. But

* Dr. Johnson's Preface.

before we allow it any higher merit, or attempt to decide upon the affection or neglect with which he reviewed his labours, it may be necessary to consider their precise nature, and certain circumstances in his situation which affected them; and, above all, we must take into our account the character and predominant occupations of the times in which he lived, and of those which followed his decease.

With respect to himself, it does not appear that he printed any one of his plays, and only eleven of them were printed in his life-time. The reason assigned for this is, that he wrote them for a particular theatre, sold them to the managers when only an actor, reserved them in manuscript when himself a manager, and when he disposed of his property in the theatre, they were still preserved in manuscript to prevent their being acted by the rival houses. Copies of some of them appear to have been surreptitiously obtained, and published in a very incorrect state, but we may suppose that it was wiser in the author or managers to overlook this fraud, than to publish a correct edition, and so destroy the exclusive property they enjoyed. It is clear therefore that any publication of his plays by himself would have interfered, at first with his own interest, and afterwards with the interest of those

to whom he had made over his share in them. But even had this obstacle been removed, we are not sure that he would have gained much by publication. If he had no other copies but those belonging to the theatre, the business of correction for the press must have been a toil which we are afraid the taste of the publick at that time would have poorly rewarded. We know not the exact portion of fame he enjoyed: it was probably the highest which dramatic genius could confer, but dramatic genius was a new excellence, and not well understood. His claims were probably not heard out of the jurisdiction of the master of the revels, certainly not beyond the metropolis. Yet such was Shakspeare's reputation that we are told his name was put to pieces which he never wrote, and that he felt himself too confident in popular favour to undeceive the publick. This was singular resolution in a man who wrote so unequally, that at this day, the test of internal evidence must be applied to his doubtful productions with the greatest caution. But still how far his character would have been elevated by an examination of his plays in the closet, in an age when the refinements of criticism were not understood, and the sympathies of taste were seldom felt, may admit of a question. "His language," says Dr. Johnson, "not being designed for the

"reader's desk, was all that he desired it to be "if it conveyed his meaning to the audience."

Shakspeare died in 1616, and seven years afterwards appeared the first edition of his plays, published at the charges of four booksellers; a circumstance from which Mr. Malone infers" that "no single publisher was at that time willing to "risk his money on a complete collection of our "author's plays." This edition was printed from the copies in the hands of his fellow-managers Heminge and Condell, which had been in a series of years frequently altered through convenience, caprice, or ignorance. Heminge and Condell had now retired from the stage, and, we may suppose, were guilty of no injury to their successors, in printing what their own interest only had formerly withheld. Of this, although we have no documents amounting to demonstration, we may be convinced, by adverting to a circumstance, which will, in our days, appear very extraordinary, namely, the declension of Shakspeare's popularity. We have seen that the publication of his works was accounted a doubtful speculation; and it is yet more certain, that so much had the publick taste turned from him in quest of variety, that for several years after his death the plays of Fletcher were more frequently acted than his, and during the whole of the

seventeenth century, they were made to giva place to performances, the greater part of which cannot now be endured. During the same period only four editions of his works were published, all in folio; and perhaps this unwieldy size of volume may be an additional proof that they were not popular; nor is it thought that the impressions

were numerous,

These circumstances which attach to our author and to his works must be allowed a plausible weight in accounting for our deficiencies in his biography and literary career, but there were circumstances enough in the history of the times to suspend the progress of that more regular drama of which he had set the example, and may be considered as the founder. If we wonder why we know so much less of Shakspeare than of his contemporaries, let us recollect that his genius, however highly and justly we now rate it, took a direction which was not calculated for permanent admiration either in the age in which he lived, or in that which followed. Shakspeare was a writer of plays, a promoter of an amusement just emerging from barbarism; and an amusement which, although it has been classed among the schools of morality, has ever had such a strong tendency to deviate from moral purposes, that the force of law has in all ages been called in to preserve it within