I have preserved the common distribution of the plays into acts, though I believe it to be in almost all the plays void of authority.  Some of those which are divided in the later editions have no division in the first folio, and some that are divided in the folio have no division in the preceding copies.  The settled mode of the theatre requires four intervals in the play; but few, if any, of our author’s compositions can be properly distributed in that manner.  An act is so much of the drama as passes without intervention of time, or change of place.  A pause makes a new act.  In every real, and, therefore, in every imitative action, the intervals may be more or fewer, the restriction of five acts being accidental and arbitrary.  This Shakespeare knew, and this he practised; his plays were written, and, at first, printed in one unbroken continuity, and ought now to be exhibited with short pauses, interposed as often as the scene is changed, or any considerable time is required to pass.  This method would at once quell a thousand absurdities.

In restoring the author’s works to their integrity, I have considered the punctuation as wholly in my power; for what could be their care of colons and commas, who corrupted words and sentences?  Whatever could be done by adjusting points, is, therefore, silently performed, in some plays with much diligence, in others with less; it is hard to keep a busy eye steadily fixed upon evanescent atoms, or a discursive mind upon evanescent truth.

The same liberty has been taken with a few particles, or other words of slight effect.  I have sometimes inserted or omitted them without notice.  I have done that sometimes, which the other editors have done always, and which, indeed, the state of the text may sufficiently justify.

The greater part of readers, instead of blaming us for passing trifles, will wonder that on mere trifles so much labour is expended, with such importance of debate, and such solemnity of diction.  To these I answer with confidence, that they are judging of an art which they do not understand; yet cannot much reproach them with their ignorance, nor promise that they would become in general, by learning criticism, more useful, happier, or wiser.

As I practised conjecture more, I learned to trust it less; and after I had printed a few plays, resolved to insert none of my own readings in the text.  Upon this caution I now congratulate myself, for every day increases my doubt of my emendations.

Since I have confined my imagination to the margin, it must not be considered as very reprehensible, if I have suffered it to play some freaks in its own dominion.  There is no danger in conjecture, if it be proposed as conjecture; and while the text remains uninjured, those changes may be safely offered, which are not considered, even by him that offers them, as necessary or safe.