Footnotes: 
1.  This was the famous Earl of Sunderland, who, being a Tory under the
   reign of Charles, a Papist in that of his successor, and a Whig in
   that of William, was a favourite minister of all these monarchs.  He
   was a man of eminent abilities; and our author shews a high opinion
   of his taste, by abstaining from the gross flattery, which was then
   the fashionable stile of dedication.

2.  Alluding to the institution of an academy for fixing the language,
   often proposed about this period.

3.  Author of a treatise on the French language.

4.  Dutch is here used generally for the High Dutch or German.

THE

PREFACE.

The poet AEschylus was held in the same veneration by the Athenians of after-ages, as Shakespeare is by us; and Longinus has judged, in favour of him, that he had a noble boldness of expression, and that his imaginations were lofty and heroic; but, on the other side, Quintilian affirms, that he was daring to extravagance.  It is certain, that he affected pompous words, and that his sense was obscured by figures; notwithstanding these imperfections, the value of his writings after his decease was such, that his countrymen ordained an equal reward to those poets, who could alter his plays to be acted on the theatre, with those whose productions were wholly new, and of their own.  The case is not the same in England; though the difficulties of altering are greater, and our reverence for Shakespeare much more just, than that of the Grecians for AEschylus.  In the age of that poet, the Greek tongue was arrived to its full perfection; they had then amongst them an exact standard of writing and of speaking:  the English language is not capable of such a certainty; and we are at present so far from it, that we are wanting in the very foundation of it, a perfect grammar.  Yet it must be allowed to the present age, that the tongue in general is so much refined since Shakespeare’s time, that many of his words, and more of his phrases, are scarce intelligible.  And of those which we understand, some are ungrammatical, others coarse; and his whole style is so pestered with figurative expressions, that it is as affected as it is obscure.  It is true, that in his latter plays he had worn off somewhat of the rust; but the tragedy, which I have undertaken to correct, was in all probability one of his first endeavours on the stage.

The original story was written by one Lollius a Lombard, in Latin verse, and translated by Chaucer into English; intended, I suppose, a satire on the inconstancy of women:  I find nothing of it among the ancients; not so much as the name Cressida once mentioned.  Shakespeare, (as I hinted) in the apprenticeship of his writing, modelled it into that play, which is now called by the name of “Troilus and Cressida,” but so lamely is it left to us, that it is not divided into acts; which fault I ascribe to the actors who