When, therefore, any obscurity arises from an allusion to some other book, the passage will be quoted.  When the diction is entangled, it will be cleared by a paraphrase or interpretation.  When the sense is broken by the suppression of part, of the sentiment in pleasantry or passion, the connexion will be supplied.  When any forgotten custom is hinted, care will be taken to retrieve and explain it.  The meaning assigned to doubtful words will be supported by the authorities of other writers, or by parallel passages of Shakespeare himself.

The observation of faults and beauties is one of the duties of an annotator, which some of Shakespeare’s editors have attempted, and some have neglected.—­For this part of his task, and for this only, was Mr. Pope eminently and indisputably qualified; nor has Dr. Warburton[2] followed him with less diligence or less success.  But I have never observed that mankind was much delighted or improved by their asterisks, commas, or double commas; of which the only effect is, that they preclude the pleasure of judging for ourselves; teach the young and ignorant to decide without principles; defeat curiosity and discernment, by leaving them less to discover; and at last show the opinion of the critick, without the reasons on which it was founded, and without affording any light by which it may be examined.

The editor, though he may less delight his own vanity, will, probably, please his reader more, by supposing him equally able with himself to judge of beauties and faults, which require no previous acquisition of remote knowledge.  A description of the obvious scenes of nature, a representation of general life, a sentiment of reflection or experience, a deduction of conclusive arguments, a forcible eruption of effervescent passion, are to be considered as proportionate to common apprehension, unassisted by critical officiousness; since, to conceive them, nothing more is requisite than acquaintance with the general state of the world, and those faculties which he must almost bring with him who would read Shakespeare.

But when the beauty arises from some adaptation of the sentiment to customs worn out of use, to opinions not universally prevalent, or to any accidental or minute particularity, which cannot be supplied by common understanding, or common observation, it is the duty of a commentator to lend his assistance.

The notice of beauties and faults, thus limited, will make no distinct part of the design, being reducible to the explanation of some obscure passages.

The editor does not, however, intend to preclude himself from the comparison of Shakespeare’s sentiments or expression with those of ancient or modern authors, or from the display of any beauties not obvious to the students of poetry; for, as he hopes to leave his author better understood, he wishes, likewise, to procure him more rational approbation.

The former editors have affected to slight their predecessors:  but in this edition all that is valuable will be adopted from every commentator, that posterity may consider it as including all the rest, and exhibiting whatever is hitherto known of the great, father of the English drama.