In this part all the present editions are apparently and intentionally defective.  The criticks did not so much as wish to facilitate the labour of those that followed them.  The same books are still to be compared; the work that has been done, is to be done again; and no single edition will supply the reader with a text, on which he can rely, as the best copy of the works of Shakespeare.

The edition now proposed will, at least, have this advantage over others.  It will exhibit all the observable varieties of all the copies that can be found; that, if the reader is not satisfied with the editor’s determination, he may have the means of choosing better for himself.

Where all the books are evidently vitiated, and collation can give no assistance, then begins the task of critical sagacity:  and some changes may well be admitted in a text never settled by the author, and so long exposed to caprice and ignorance.  But nothing shall be imposed, as in the Oxford edition, without notice of the alteration; nor shall conjecture be wantonly or unnecessarily indulged.

It has been long found, that very specious emendations do not equally strike all minds with conviction, nor even the same mind, at different times; and, therefore, though, perhaps, many alterations may be proposed as eligible, very few will be obtruded as certain.  In a language so ungrammatical as the English, and so licentious as that of Shakespeare, emendatory criticism is always hazardous, nor can it be allowed to any man who is not particularly versed in the writings of that age, and particularly studious of his author’s diction.  There is danger lest peculiarities should be mistaken for corruptions, and passages rejected as unintelligible, which a narrow mind happens not to understand.

All the former criticks have been so much employed on the corrections of the text, that they have not sufficiently attended to the elucidation of passages obscured by accident or time.  The editor will endeavour to read the books which the author read, to trace his knowledge to its source, and compare his copies with their originals.  If, in this part of his design, he hopes to attain any degree of superiority to his predecessors, it must be considered, that he has the advantage of their labours; that, part of the work being already done, more care is naturally bestowed on the other part; and that, to declare the truth, Mr. Rowe and Mr. Pope were very ignorant of the ancient English literature; Dr. Warburton was detained by more important studies; and Mr. Theobald, if fame be just to his memory, considered learning only as an instrument of gain, and made no further inquiry after his author’s meaning, when once he had notes sufficient to embellish his page with the expected decorations.

With regard to obsolete or peculiar diction, the editor may, perhaps, claim some degree of confidence, having had more motives to consider the whole extent of our language than any other man from its first formation.  He hopes that, by comparing the works of Shakespeare with those of writers who lived at the same time, immediately preceded, or immediately followed him, he shall be able to ascertain his ambiguities, disentangle his intricacies, and recover the meaning of words now lost in the darkness of antiquity.