White's Shakspeare: (Second Notice)

WE doubt if posterity owe a greater debt to any two men living in 1623 than to the two obscure actors who in that year published the first folio edition of Shakspeare’s plays. But for them, it is more than likely that such of his works as had remained to that time unprinted would have been irrecoverably lost, and among them were “Julius Caesar,” “ The Tempest,” and “ Macbeth,” But are we to believe them when they assert that they present to us the plays which they reprinted from stolen and surreptitious copies “cured and perfect of their limbs," and those which are original in their edition “absolute in their numbers as he [Shakspeare] conceived them ” ? Alas, we have read too many theatrical announcements, have been taught too often that the value of the promise was in an inverse ratio to the generosity of the exclamation-marks, too easily to believe that ! Nay, we have seen numberless processions of healthy kine enter our native village unheralded save by the lusty shouts of drovers, while a wretched calf, cursed by stepdame Nature with two heads, was brought to us in a triumphal car, avant-couriered by a band of music as abnormal as itself, and announced as the greatest wonder of the age. If a double allowance of vituline brains deserve such honor, there are few commentators on Shakspeare that would have gone afoot, and the trumpets of Messieurs Heminge and Condell call up in our minds too many monstrous and deformed associations.

What, then, is the value of the first folio as au authority ? We are inclined to think that Mr. Collier (for obvious reasons) underrates it, and that Mr. White sometimes errs in the opposite direction. For eighteen of the plays it is the only authority we have, and the only one also for four others in their complete form. It is admitted that in several instances Heminge and Condell reprinted the earlier quarto impressions with a few changes, sometimes for the better and sometimes for the worse ; and it is most probable that copies of those editions (whether surreptitious or not) had taken the place of the original prompter’s books, as being more convenient and legible. Even in these eases it is not safe to conclude that all or even any of the variations were made by the hand of Shakspeare himself. And where the players printed from manuscript, is it likely to have been that of the author ? The probability is small that a writer so busy as Shakspeare must have been during his productive period should have copied out their parts for the actors, himself, or that one so indifferent as he seems to have been to the mere literary fortunes of his works should have given any great care to the correction of such copies, if made by others. The copies exclusively in the hands of Heminge and Condell were, it is manifest, in some cases, very imperfect, whether we account for the fact by the burning of the Globe Theatre or by the necessary wear and tear of years, and (what is worthy of notice) they are plainly more defective in some parts than in others. “ Measure for Measure” is an example of this, and we are not satisfied with being told that its ruggedness of verse is intentional, or that its obscurity is due to the fact that Shakspeare grew more elliptical in his style as he grew older. Profounder in thought be doubtless became ; though, in a mind like his, we believe that this would imply only a more absolute supremacy in expression. But, from whatever original we suppose either the quartos or the first folio to have been printed, it is more than questionable whether the proof-sheets had the advantage of any revision other than that of the printing-office. Steevens was of opinion that authors in the time of Shakspeare never read their own proofsheets ; and Mr. Spedding, in his recent edition of Bacon, comes independently to the same conclusion.2 We may be very sure that Heminge and Condell did not, as vicars, take upon themselves a disagreeable task which the author would have been too careless to assume.

Nevertheless, however strong a case may be made out against the Folio of 1623, whatever sins of omission we may lay to the charge of Heminge and Condell, or of commission to that of the printers, it remains the only text we have with any claims whatever to authenticity. It should be deferred to as authority in all cases where it does not make Shakspeare write bad sense, uncouth metre, or false grammar, of all which we believe him to have been more supremely incapable than any other man who ever wrote English. Yet we would not speak unkindly even of the blunders of the Folio. They have put bread into the mouth of many an honest editor, publisher, and

printer, for the last century and a half ; and he who loves the comic side of human nature will find the serious notes of a variorum edition of Shakspeare as funny reading as the Funny ones are serious. Scarce a commentator of them all, for more than a hundred years, but thought, as Alphonso of Castile did of Creation, that, if he had only been at Shakspeare's elbow, he could have given valuable advice ; scarce one who did not know off-hand that there was never a seaport in Bohemia,—as if Shakspeare’s world were one which Mercator could have projected ; scarce one but was satisfied that his ten finger-tips were a sufficient key to those astronomic wonders of poise and counterpoise, of planetary law and cometary seeming-exception, in his metres ; scarce one but thought he could gauge like an ale-firkin that intuition whose edging shallows may have been sounded, but whose abysses, stretching down amid the sunless roots of Being and Consciousness, mock the plummet ; scarce one but could speak with condescending approval of that prodigious intelligence so utterly without congener that our baffled language must coin an adjective to qualify it, and none is so audacious as to say Shakspearian of any other. And yet, in the midst of our impatience, we cannot help thinking also of how much healthy mental activity this one man has been the occasion, how much good he has indirectly done to society by withdrawing men to investigations and habits of thought that secluded them from baser attractions, for how many he has enlarged the circle of study and reflection ; since there is nothing in history or politics, nothing in art or science, nothing in physics or metaphysics, that is not sooner or later taxed for his illustration. This is partially true of all great minds, open and sensitive to truth and beauty through any large arc of their circumference ; but it is true in an unexampled sense of Shakspeare, the vast round of whose balanced nature seems to have been equatorial, and to have had a southward exposure and a summer sympathy at every point, so that life, society, statecraft serve us at last but as commentaries on him, and whatever we have gathered of thought, of knowledge, and of experience, confronted with his marvellous page, shrinks to a mere foot-note, the stepping-stone to some hitherto inaccessible verse. We admire in Homer the blind placid mirror of the world’s young manhood, the bard who escapes from his misfortune in poems all memory, all life and bustle, adventure and picture ; we revere in Dante that compressed force of lifelong passion which could make a private experience cosmopolitan in its reach and everlasting in its significance ; we respect in Goethe the Aristotelian poet, wise by weariless observation, witty with intention, the stately Gehemerrath of a provincial court in the empire of Nature. As we study these, we seem in our limited way to penetrate into their consciousness and to measure and master their methods ; — but with Shakspeare it is just the other way ; the more we have familiarized ourselves with the operations of our Own consciousness, the more do we find, in reading him, that he has been beforehand with us, and that, while we have been vainly endeavoring to find the door of his being, he has searched every nook and cranny of our own. While other poets and dramatists embody isolated phases of character and work inward from the phenomenon to the special law which it illustrates, he seems in some strange way unitary with human nature itself, and his own soul to have been the lawand life-giving power of which his creations are only the phenomena. We justify or criticize the characters of other Writers by our memory and experience, and pronounce them natural or unnatural ; but he seems to have worked in the very stuff of which memory and experience are made, and we recognize his truth to Nature by an innate and unacquired sympathy, as if he alone possessed the secret of the “ ideal form and universal mould,” and embodied generic types rather than individuals. In this Cervantes alone has approached him ; and Don Quixote and Sancho, like the men and women of Shakspeare, are the contemporaries of every generation, because they are not products of an artificial and transitory society, but because they are animated by the primeval and unchanging forces of that humanity which underlies and survives the forever-fickle creeds and ceremonials of the parochial corners which we who dwell in them sublimely call The World.

But the dropping of our variorum volume upon the floor recalls us from our reverie, and, as we pick it up, we ask ourselves sadly, Is it fitting that we should have a, Shakspeare according to plodding Malone or coarse-minded Steevons, both of whom would have had the headache all their lives after, could one of the Warwickshire plebeian’s conceptions have got into their brains and stretched them, and who would have hidden under their bedclothes in a cold-sweat of terror, could they have seen the awful vision of Macbeth as he saw it ? No ! and to every other commentator who has wantonly tampered with the text, or obscured it with his inky cloud of paraphrase, we feel inclined to apply the quadrisyllabic name of the brother of Agis, king of Sparta. Clearly, we should be grateful to an editor who feels it his chief duty to scrape away these barnacles from the brave old hull, to replace with the original heartof-oak the planks where these small but patient terebrators have bored away the tough fibre to fill the gap with sawdust !

This task Mr. White has undertaken, and, after such conscientious examination of his work as the importance of it demands, after a painful comparison, note by note, and reading by reading, of his edition with those of Messrs. Knight, Collier, and Dyce, our opinion of his ability and fitness for his task has been heightened and confirmed. Not that we always agree with him,—not that we do not think that in respect of the Folio text he has sometimes erred on the side of superstitious reverence for it, and sometimes in too rashly abandoning it,—but, making all due exceptions, we think that his edition is, in the phrase of our New England fathers in Israel, for substance, scope, and aim, the best hitherto published. The chief matter must in all cases be the text, and the faults we find in him do not, as a general rule, affect that. Some of them are faults which his own better judgment, we think, will lead him to avoid in his forthcoming volumes ; and in regard to some, he will probably honestly disagree with ns as to their being faults at all. No conceivable edition of Shakspeare would satisfy all tastes ;—sometimes we have attached associations to received readings which make impartial perception impossible.; sometimes we have imparted our own meaning to a passage by too steady pondering over it, just as in twilight an inanimate thing will seem to move, if we look at it long, though the wavering be truly in our own overstrained vision ; sometimes our personal temperament will insensibly warp our judgment;—but Mr. White has generally shown so just a discrimination, that there are few instances where we dissent, and in these a pencil will enable every one to edit for himself. Any criticism of an edition of Shakspeare must necessarily concern itself with seemingly insignificant matters, often with a comma or a syllable,—and the danger is always of degenerating into a captiousness and word-catching unworthy the lover of truth for its own sake. We shall endeavor to be minute without being small.

Mr. White reserves for a first volume (not yet published) his notices of Shakspeare’s life, his remarks upon the text, and other general introductory topics. In the second volume, he gives us an excellent copy of the Droeshout portrait, the preliminary matter of the Folio of 1623, with notices of the writers of commendatory verses thereto prefixed, and of the principal actors who performed parts in Shakspeare’s plays. We notice particularly his discussion of the authorship of the verses signed J. M. S. as a good example of the delicacy and acuteness of his criticism. Though he has the great authority of Coleridge against him, we think that he has constructed a very ingenious, strong, and even convincing argument against the Milton theory. Each play is preceded by an Introduction, remarkably well digested and condensed, giving an account of the text, and of the sources from which Shakspeare helped himself to plots or incidents. We cannot but commend highly the self-restraint which marks these brief and pithy prefaces, and the pertinency of every sentence to the matter in hand. The Germans, (to whom we are undeniably indebted for the first philosophic appreciation of the poet,) being debarred by their alienage from the tempting parliament of verbal commentary and conflict, have made themselves such ample amends by exptiations in the unfenced field of æsthetics and of that constructive criticism which is too often confined to the architecture of Castles in Spain, that we feel as if Dogberry had charged us in relation to them with that hopelessly bewildering commission to “ comprehend all vagrom men ” which we have hitherto considered applicable only to peripatetic lecturers. Mr. White wisely and kindly leaves us to Shakspeare and our own imaginations, — two very potent spells to conjure with, — and seems to be aware of the fact, that, in its application to a creative mind like that of the great Poet, the science of teleology may sometimes find itself as much at fault as it so often is in attempting to fathom the designs of the Infinite Creator. Rabelais solves the grave problem of the goodliness of Friar John’s nose by the comprehensive formula, “Because God willed it so ”; and it is well for us in most cases to enjoy Shakspeare in the same pious way, — to smell a rose without bothering ourselves about its having been made expressly to serve the turn of the essencepeddlers of Shiraz. We yield the more credit to Mr. White’s self-denial in this respect, because his notes prove him to be capable of profound as well as delicate and sympathetic exegesis. Shakspeare himsell has left us a pregnant satire on dogmatical and categorical aesthetics (which commonly in discussion soon lose their ceremonious tails and are reduced to the internecine dog and cat of their bald first syllables) in the cloud-scene between Hamlet and Polonius, suggesting exquisitely how futile is any attempt at a cast-iron definition of those perpetually metamorphic impressions of the beautiful, whose source is as much in the man who looks as in the thing he sees. And elsewhere more directly,—Mr. White must allow us the old reading for the sake of our illustration,—he has told us how

“Affection, Master of passion, sways it to the mood Of what it likes or loathes."

We are glad to see, likewise, with what becoming indifference the matter of Shakspeare’s indebtedness to others is treated by Mr. White in his Introductions. There are many commentators who seem to think they have wormed themselves into the secret of the Master’s inspiration when they have discovered the sources of his plots. But what he took was by right of eminent domain ; and was he not to resuscitate a theme and make it immortal, because some botcher had tried his hand upon it before, and left it for stone-dead ? Because he could not help throwing sizes, was he to avoid the dice which for others would only come up ames-ace ?

Up to the middle of 1854,3 there had been published in England and on the Continent eighty-eight complete editions of Shakspeare in English, thirty-two in German, six in French, and five, more or less complete, in Italian. Beside these, his works had been translated into Dutch, (1778-82,) into Danish, (180728,) into Hungarian, (1824,) into Polish, (1842,) and into Swedish (1847-51). The numerous American editions are not reckoned in this statement ; and, to give an adequate notion of the extent of the Shakspeare-literature, we should add that the number of separately-printed comments and other illustrative publications already exceeds five hundred. No other poet except Dante has received such appreciation,—and not even he, if we consider in Shakspeare’s case the greater bulk of the works and the difficulty of the language. After so many people had used their best wit and had their say, could there be any unconsidered trifle left for a new editor ? Could the sharpest eyes find more needles in this enormous haystack ? We do not pretend to have examined the whole of this polyglot library, nay, but for Herr Sillig, we had never heard of most of the books in it, but we are tolerably familiar with the more important English editions, and with some of the German comments,4 and we must say that the treshness of many of Mr. White's observations struck us with very agreeable surprise. We are not fond of off-hand opinions on any subject, much more on one so multifarious and complex as this,—we are a great deal too ready with them in America, and pronounce upon pictures and poems with a b'hoyish nonchalance that would be amusing, were it not for its ill consequence to Art,—but we love the expression of honest praise, of sifted and considerate judgment, and we think that a laborious collation justifies us in saying that in acute discrimination of aesthetic shades of expression, and often of textual niceties, Mr. White is superior to any previous editor.

In proof of what we have said, we will refer to a few of the notes which have particularly pleased us, and which show originality of view.

( Tempest, Act ii. Sc. 2.)

“'Nor scrape trenchering, nor trash dish.'

" Dryden, Theobald, Dyce, Halliwell, and Hudson would have ‘trenchering’ a typographical error for ‘trencher,’ which they introduce into the text. Surely they must all have forgotten that Caliban was drunk, and, after singing ‘ firing ’ and ‘ requiring,’ would naturally sing ‘ trenchering.’ There is a drunken swing in the original line which is entirely lost in the precise, curtailed rhythm of—

'Nor scrape trencher, nor wash dish.'

Other editors had retained “ trenchering,” but none, that we know, ever gave so good a reason for it. Equally good is his justification of himself for omitting Theobald’s interpolation of “ Did she nod ? ” in “ Two Gentlemen of Verona,” Act i. Sc, 1. Other examples may be found in the readings, “ There is a lady of Verona here,” (same play, Act iii. Sc. 1) ; “Yet reason dares her on," (Measure for Measure, Act iv. Sc. 4) ; “ Hark, how the villain would glose now,” (same play, Act v. Sc. 1) ; “ The forced fallacy,” (Comedy of Errors, Act ii. Sc. 1) ; in the note on “ Cupid is a good hare-finder,” (Much Ado, Act i. Sc. 3) ; the admirable note on “Examine those men,” (same play, Act iii. Sc. 1) ; the readings, “Out on thee! Seeming !” (same, play, Act iv. Sc. 1) ; “ For I have only silent been,” (ibid.) ; “Goodly CountConféct," and note, (same play, Act iv. Sc. 2) ; the note on “ I do beseech thee, remember thy courtesy,” (Love's Labor's Lost, Act v. Sc. 1) ; on “ Mouusieur Cobweb,” and “ Help Cavalery Cobweb to scratch,” (Mid. Night's D., Act iv. Sc. 1) ; on “ Or in the night,” etc. (same, play, Act v. Sc. 1) ; on “ Is sum of nothing,” (Merchant of Venice, Act iii. Sc. 2) ; on “ Stays me here at home unkept,” (As you like it,” Act i. Sc. 1) ; on “ Unquestionable spirit,” (same play, Act iii. Sc. 2); on “Move the still-piecing air,” (All’s Well, etc., Act ii. Sc. 2) ; and on “ What is not holy,” (same play, Act iv. Sc. 2). We have referred to a few only out of the many instances that have attracted our notice, and these chiefly for their bearing on what we have said of the editor’s refinement of appreciation and originality of view. The morely illustrative and explanatory notes are also full and judicious, containing all that it is important the reader should know, and a great deal which it will entertain him to learn. In the Introductions to the several plays, too, we find many obiterdicta of Mr. White which are excellent in their clearness of critical perception and conciseness of phrase. From that to the “ Comedy of Errors ” we quote the following sentence :—

“ Concerning the place and the period of the action of this play, it seems that Shakspeare did not trouble himself to form a very accurate idea. The Ephesus of “ The Comedy of Errors ” is much like the Bohemia of “ The Winter’s Tale,”—a remote, unknown place, yet with a familiar and imposing name, and therefore well suited to the purposes of one who, as poet and dramatist, cared much for men and little for things, and to whose perception the accidental was entirely eclipsed by the essential. Anachronisms are scattered through it with a profusion which could only be the result of entire indifference.—in fact, of an absolute want of thought on the subject.”—Vol. III. 189.

We think this could not be better said, if only we might supplant “ things” with the more precise word “facts" ; for about things Shakspeare was never careless. It is only that deciduous foliage of facts which every generation leaves heaps of behind it dry, and dead, that he rustles through with eyes so royally unconcerned. As a good example of Mr. White’s style, we should be inclined to cite the Introduction to “ Love’s Labor’s Lost,” from which we detach this single ervstal : —

“ It is ever the ambitious way of youthful genius to aim at novelty of form in its first essays, while yet in treatment it falls unconsciously into a vein of reminiscence; afterward it is apt to return to established forms, and to show originality of treatment.”

The temptation which too easily besets an editor of Shakspeare is to differ, if possible, from everybody who has gone before him, though but as between the N.E. and N.N.E. points in the circumference of a hair. We do not find Mr. White guilty in this respect for what he has done, but sometimes for what he has left undone in allowing the Folio text to remain. The instance that has surprised us most is his not admitting (As You Like it, Act iv. Sc. 1) the reading, —“The foolish coroners of that age found it was Hero of Sestos,” instead of the unmeaning one, “chroniclers.” He has been forced, for the sake of sense, to make some changes in the Folio text which seem to us quite as violent, and we cannot help thinking that the gain in aptness of phrase and coherence of meaning would have justified him in doing as much here. He admits, in his note on the passage, that the change is " very plausible” ; but adds, “If we can at will reduce a perfectly appropriate and uncorrupted word of ten letters to one of eight, and strike out such marked letters as h, l, and e, we may re-write Shakspeare at our pleasure.” Mr. White has already admitted that “ chroniclers” is not perfectly appropriate in admitting that the change is “very plausible”; and he has no right to assume that the word is uneorrupted,—for that is the very point in question. As to the disparity in the number of letters, no one familiar with misprints will be surprised at it ; and Mr. Spedding, in the edition of Bacon already referred to, furnishes us with an example of blunder5 precisely the reverse, in which one word of eight letters is given for two of ten, (sciences for six princes,)—the printer in both cases having set up his first impression of what the word was for the word itself. Had this occurred in Shakspeare, instead of Bacon, we should have had a series of variorum notes like this :—

“ That sixpence was the word used by our author scarcely admits? of doubt. From a number of parallel passages we select the following :—

'Live on sixpence a day, and earn it.’— Abernethy.

I give thee sixpence? I will see thee andso-forthed first!'—Canning.

‘Be shot for sixpence on a battlefield.’—Tennyson.

‘Half a crown, two shillings and sixpence.'— Niemand’s Dictionary.

Moreover, we find our author using precisely the same word in the ‘ Midsummer Night’s Dream ':—

' Thus hath he lost sixpence a day during his life.’ ” JONES.

“Had the passage read ‘two princes,’ we might have thought it genuine ; since ‘ the two kings of Brentford’ must have been familiar to our great poet, and he was also likely to have that number deeply impressed on his mind by the awful tragedy in the tower, (see Richard the Third,) where, it is remarkable, precisely that number of royal offspring suffered at the hands of the crook-backed tyrant. The citation from Niemand’s Dictionary, by the Rev. Mr. Jones, tells as much in favor of two princes as of sixpence ; for how could the miseries of a divided empire be more emphatically portrayed than in the striking, and, as it seems to me, touching phrase, HALF at crown ? Could we in anyway read ‘three princes," we should find strong support in the tradition of ‘ the three kings of Cologne,’ and in the Arabian story of the ‘ Three Calenders.’ The line quoted by Thomson, (Shukspeare, by Thomson, Vol. X. p. 701,)

' Under which King Bezonian, speak or die ! ’ (though we agree with him in preferring his pointing to the ordinary and meaningless

‘Under which King, Bezonian,’ etc.)

unhappily can throw no light on the present passage till we know how many King Bezonians are intended, and who they were. Perhaps we should read Belzonian, and suppose a reference to the Egyptian monarehs whose tombs were first explored by the intrepid Belzoni. The epithet would certainly be appropriate and in Shakspcare’s best manner ; but among so many monarehs, a choice of two, or even three, would be embarrassing and invidious.” BROWN.

“As for the ‘Three Calenders,’ there can be no reasonable question that Shakspeare was well acquainted with the story; for that he had travelled extensively in the East I have proved in my ‘Essay to show that Sir Thomas Roe and William Shakspeare were identical ’ ; and that he was familiar with the Oriental languages must be apparent to any one who has read my note on ‘ Concolinel' (Love's Labor's Lost, Act iii. Sc. 1). But that ‘ six princes ’ is the true reading is clear from the, parallel passage in “ Richard the Third,” which I am surprised that the usually accurate Mr. Brown should have overlooked,— ‘Methinks there be SIX Richmonds in the field.’ ” ROBINSON.

“ I was at first inclined to the opinion of the late Mr. Robinson, but matnrer consideration has caused me to agree with the eloquent and erudite Jones. There is a definite meaning in the word sixpence ; and a similar error of the press in Lord Bacon’s ‘Advancement of Learning,’ where the context shows that sixpences and not sciences was the word intended, leads me to suspect that the title of his opus magnum should be De Augmentis Sixpenciarum. Viewing the matter as a political economist, such a topic would have been more worthy of the Lord Chancellor of England ; it would have been more in accordance with what we know of the character of ‘ the meanest of mankind ’ ; and the exquisite humor of the title would tally precisely with what Ben Jonson tells us in his ‘ Discoveries,’ under the head Dominus Verulamius, that ‘his language (where he could spare or pass by a jest) was nobly censorious.’ Sir Thomas More had the same proneness to merriment, a coincidence the more striking as both these great men were Lord Chancellors. A comic stroke of this description would have been highly attractive to a mind so constituted, and might easily escape the notice of a printer, who was more likely to be intent upon the literal accuracy of the Latin than on the watch for extraordinary flights of humor.” SMITH.

But we must return from our excursion into an imaginary variorum, delightful because it requires no eyesight and no thought, to the more serious duty of examining the notes of Mr. White. We have mentioned a single instance in which we differ with him as to the propriety of a fanatical adherence to the text of the Folio of 1623. Wc differ, because we think that sense is not all that we have a right to expect from Shakspeare,—that it is, indeed, merely the body in which his genius creates a soul of meaning, nay, oftentimes a double one, exoteric and esoteric, the spiritus astralis and the anima cœlestis. Had the passage been in verse, where the change might have damaged the rhythm, — had it been one of those ecstasies of Shakspearian imagination, to tamper with which because we could not understand it would be Bottom-like presumption,—one of those tempests of passion where every word reeks hot and sulphurous, like a thunderstone new-fallen, —in any of these cases we should have agreed with Mr. White that to abstain was a duty. But in a sentence of lightsome and careless prose, and where the chances are great that the word to be changed is the accident of the printer and not the choice of the author, we say, give us a text that is true to the context and the æsthetic instinct rather than to the Folio, even were that Pandora-box only half as full of manifest corruptions as it is.

In the “Two Gentlemen of Verona,” (Act iii. Sc. 1,) Mr. White prefers, “ She is not to be fasting in respect of her breath,” to “ She is not to be kissed fasting in respect of her breath,”—an emendation made by Rowe,6 and found also in Mr. Collier’s Corrected Folio of 1632. We cannot agree with him in a reading which seems to us to destroy all the point of the passage.

In Dumain's ode, (Love’s Labors Lost, Act iv. Sc. 3,) beginning,

“ On a day, (alack the day !)
Love, whose month is ever May,”

Mr. White chooses to read

“ Thou, for whom Jove would swear
Juno but au Ethiop were,”

rather than accept Pope’s suggestion of “ ev’n Jove,” or the far better “ great Jove” of Mr. Collier’s Corrected Folio,— affirming that “ the quantity and accent proper to ‘ thou ’ make any addition to the line superfluous.” We should like to hear Mr. White read the verse as he prints it. The result would be something of this kind :—

Thou-ou for whom Jove would swear,— which would be like the ‘bow-wow-wow before the Lord’ of the old countrychoirs. To our ear it is quite out of the question ; and, moreover, we affirm that in dissyllabic (which we, for want of a better name, call iambic and trochaic) measures the omission of a half-foot is an impossibility, and all the more so when, as in tins case, the preceding syllable is strongly accented. Even had the poem been meant for singing, which it was not, for Dumain reads it, the quantity would be false, though the ear might more easily excuse it. Such an omission would be not only possible, but sometimes very effective, in trisyllabic measures,— as, for instance, in anapests like these,— We quite agree with Mr. White and Mr. Knight in their hearty dislike of the Steevens-system of versification, but we think that Coleridge (who, although the best English metrist since Milton, often thought lazily and talked loosely) has misled both of them in what he has said about the pauses and retardations of verse. In that noblest of our verses, the unrhymed iambic pentameter, two short or lightly-accented syllables may often gracefully and effectively take the place of a long or heavily-accented one ; but great metrists contrive their pauses by the artistic choice and position of their syllables, and not by leaving them out. Metre is the solvent in which alone thought and emotion can perfectly coalesce,—the thought confining the emotion within decorous limitations of law, the emotion beguiling the thought into somewhat of its own fluent grace and rebellious animation. That is ill metre which does not read itself in the mouth of a man thoroughly penetrated with the meaning of what he reads ; and only a man as thoroughly possessed of the meaning of what he writes can produce any metre that is not sing-song. Not that we would have Shakspeare’s metre tinkered where if seems defective, but that we would not have palpable gaps defended as intentional by the utterly unsatisfactory assumption of pauses and retardations. Mr. White has in many cases wisely and properly made halting verses perfect in their limbs by easy transpositions, and we think he is perfectly right in refusing to interpolate a syllable, but wrong in assuming that we have Shakspeare’s metre where we have no metre at all. We are not speaking of seeming irregularities, of

“’Tis the middle of night by the castle clock, And the owls have awakened the crowing cock,”—

where iambs or spondees may take the place of the first or second foot with no shock to the ear, though the change of rhythm be sensible enough,— as

'Tís thĕ dēēp mīdnīght by the castle clock,
And ōwls have awakened the crowing cock.

lines broken up by rapid dialogue or cut short by the gulp of voiceless passion, nor do we forget that Shakspeare wrote for the tongue and not the eye, but we do not believe he ever left an unmusical period. Especially is this true of passages where the lyrical sentiment predominates, and we beg Mr. White to reconsider whether we owe the reading “All overeanopied with luscious woodbine” (instead of lush)

to the printers of the Folio or to Shakspeare. Even if we accept Steevens s “whereon” instead of “ where ” in the first verse of this exquisite piece of melody, and read (as Mr. White does not)

“ I know a bank whereon the wild thyme grows,”

it leaves the peculiar lilt of the metre unchanged. The varied accentuation of the verses is striking ; and would any one convince himself of the variety ot which this measure is capable, let him try to read this passage, and the speech of Pospero, beginning “ Ye elves of hills," to the same tune. In the verses,

“And ye that on the sands with printless foot
Do chase the ebbing Neptune, | and do fly him
When he comes back,”

observe how the pauses are contrived to echo the sense and give the effect of flux and reflux. Versification was understood in that day as never since, and no treatise on English verse so good, in all respects, as that of Campion (1602) has ever been written. Coleridge learned from him how to write his “ Catullian hendeca-syllables,” and did not better his instruction.7

In “ Measure for Measure,” (Act i. Sc. 1,) in this passage,—

“ what’s open made
To justice, that justice seizes : what knows the law

That thieves do pass on thieves ?” does Mr. White believe the “that” and “ what ” are Shakspeare’s ? Does he consider

“ To justice, that justice seizes : what knows the law ”

an alexandrine, — and an alexandrine worthy of a student and admirer of Spenser ? Should we read it thus, we should dread Martial’s sarcasm of, Sed male cum recitas. We believe that Shakspeare wrote

“ What’s open made
To Justice, Justice seize: knows the Law
That thieves do pass on thieves ? ”

We have pointed out a passage or two whore we think Mr. White follows the Folio text too literally. Two instances we have noted where he has altered, as we think, for the worse. The first is (Tempest, Act iii. Sc. 3) where Mr. White reads,

“ You are three men of sin whom Destiny
(That hath to instrument this lower world
And what is in’t) the never-surfeited sea
Hath caused to belch you up,—and on this island
Where man doth not inhabit ; you ’mongst men
Being must unfit to live. I have made you mad."

The Folio reads, “ Hath caused to belch up you ”; and Mr. White says in his note, “ The tautological repetition of the pronoun was a habit, almost a custom, with the Elizabethan dramatists." This may be true, (though we think the assertion rash.) but certainly never as in this case. We think the Folio right, except in its punctuation. The repetition of the “ you ” is emphatic, not tautological, and is demanded by the whole meaning of the passage. Ariel is taunting the persons she addresses, with the intention of angering them ; and the “ you is repeated because those highly respectable men cannot at first bring their minds to believe that such unsavory epithets are addressed to them. We should punctuate thus, following the order of the words in the Folio,—

"Hath caused to belch up,—you ! and on this island,
Where man doth not inhabit ;—you ’mongst men
Being most unfit to live. I have made you mad."

In the “ Comedy of Errors,” (Act ii. Sc. 2.) Adriana, suspecting her husband of unfaithfulness, says to him,—

“For, if we two be one, and thou play false,
I do digest the poison of thy flesh,
Being strumpeted by thy contagion.
Keep, then, fair league and truce with thy true bed ;
I live distained, thou undishonored.”

Such is the reading of the Folio. Mr. White reads,

“ I live distained, thou one dishonored.”

But we cannot help thinking that the true reading should be,

“I live distained, though undishonored,”

which is a less forced construction, and coincides with the rest of the passage,— “ I am contaminate through thee, though in myself immaculate.”

In “As You Like it,” (Act ii. Sc. 3,) Mr. White (with the Folio and some recent editors) calls the Duke’s wrestler, “ the bonny priser of the Duke.” The common reading is “ bony,” which seems to us better, though we believe brawny to be the word intended. We likewise question Mr. White’s explanation of the word priser, which, he says, “ is prize-fighter, one who wins prizes.” One who “ fights for prizes” would have been better ; but we suspect that the word is more nearly akin with the French prise (in the sense of venir aux prises) than with prix. We should prefer also “Aristotle’s ethicks ” ( Taming of the Shrew, Act i. Sc. 1) to the ordinary “Aristotle’s checks,” which is retained by Mr. White. In “ Much Ado about Nothing,” (Act ii. Sc. 1,) we have no doubt that Mr. Collier’s corrector is right in reading “ sink apace,” though Mr. White states authoritatively that Shakspeare would not have so written. It is only fair to Mr. White, however, to say that he is generally open-minded toward readings suggested by others, and that he accepts nearly all those of Mr. Collier’s Corrected Folio on which honest lovers of Shakspeare would be likely to agree. In comparing his notes with the text, our eye was caught by a verse in which there seems so manifest a corruption that we shall venture to throw down the discord-apple of a conjectural emendation. In the “ Merchant of Venice," (Act iii. Sc. 2.) where Bassanic is making his choice among the caskets, after a long Speech about “ outwaru shows and “ ornament,” he is made to say that ornament is,

“in a word,
The seeming truth which cunning, times put on
To entrap the wisest.”

We find it hard to believe that times is the right word here, and strongly suspect that it has stolen the place of tires. The whole previous tenor of the speech, mid especially of the images immediately preceding that in question, appears to demand such a word.

We have said, that we considered the style and matter of Air. White’s notes excellent. Indeed, to the purely illustrative notes we should hardly make an exception. There are two or three which we think in questionable taste, and one where the temptation to say a sharp thing has led the editor to vulgarize the admirable Benedick, and to misinterpret the text in a way so unusual for him that it is worth a comment. When Benedick’s friends are discussing the symptoms which show him to be in love, Claudio asks,

“ When was he wont to wash his face? ”

Mr. White annotates thus :—

“ That the benign effect of the tender passion upon Benedick in this regard should be so particularly noticed, requires, perhaps, the remark, that in Shakspeare’s time our race had not abandoned itself to that reckless me of water, whether for ablution or potation, which has more recently become one of its characteristic traits.”

Now, if there could be any doubt that “wash " means cosmetic here, the next speech ot Don Pedro (“Yea, or to paint himself ? ”) would remove it. The gentlemen of all periods in history have been so near at least to godliness as is implied in cleanliness. The very first direction in the old German poem of “ Tisch-zucht ” is to wash before coming to table ; and in “ Parzival,” Gurnamanz specially inculcates on his catechumen the social duty of always thoroughly cleansing himself on laying aside his armor. Such instances could be multiplied without end.

In annotating Shakspeare, it would, perhaps, be asking too much of an editor to give credit to its first finder for every scrap of illustration. The immense mass of notes already existing may, perhaps, be fairly looked upon as a kind of dictionary, open to every one, and the use of which implies no indebtedness. Mr. White, in general, indicates the source whence he has drawn, though we have sometimes found him negligent in this respect. He says, in the Advertisement prefixed to his second volume, “ that in every ease, where no such credit is given for a restoration, a conjecture, or a quotation, the editor is responsible for it ; and as he is disinclined to the giving of much prominence to claims of this sort, he has, in those cases, merely remarked, that ‘hitherto’ the text has stood thus or so.” We have not been at the trouble of verifying every one of Mr. White’s “ hithertos,” but we did so in two plays, and found in “Midsummer Night’s Dream” four, and in “Much Ado” two cases, where the reading claimed as a restoration occurred also in Mr. Knight's excellent edition of 1842. These oversights do not affect the correctness of Mr. White’s text, but they diminish our confidence in the accuracy of the collation to which he lays claim.

The chief objection which we have to make against Mr. White’s text is, that he has perversely allowed it to continue disfigured by vulgarisms of grammar and spelling. For example, he gives us miscoaster, and says, “ This is not a misspelling or loose spelling of ' misconstrue,’ but the old form of the word.” Mr. Dyee insisted on the same cacographical nicety in his “ Remarks ” on the editions of Mr. Collier and Mr. Knight, but abandons it in his own with the artless admission that misconstrue also occurs in the Folio. In one of the Camden Society’s publications is a letter from Friar John Hylsey to Thomas Cromwell, in which we find “ As God is my jugge";8 but we do not believe that jug was an old form of judge, though a philological convict might fancy that the former word was a derivative of the latter. Had the phrase occurred in Shakspeare, we should have had somebody defending it as tenderly poetical. We cannot but think it a sacrifice in Mr. White that he has given up the whatsomeres of the Folio. He does retain puisny as the old form, but why not spell it puisné and so indicate its meaning ? Mr. White informs us that “ the grammatical form in use in Shakspeare’s day ” was to have the verb govern a nominative case ! Accordingly, he perpetuates the following oversight of the poet or blunder of the printer :—

“ What he is, indeed,
More suits you to conceive, than I to speak of.”

Again, he says that who, as an objective case, “ is in accordance with the grammatical usage of Shakspeare’s day,” (Vol. II. p. 86,) and that, “considering the unsettled state of minor grammatical relations in Shakspeare’s time, ” it is possible that he wrote whom as a nominative (Vol. V. p. 393). But the most extraordinary instance is where he makes a nominative plural agree with a verb in the second person singular, (Vol. III. p. 121,) and justifies it by saying that “such disagreements ... are not uncommon in Shakspeare’s writings, and those of his contemporaries.” The passage reads as follows in Mr. White's edition : —

“A breath thou art,
Servile to all the skiey influences
That dost this habitation where thou keep'st Hourly afflict.”

Hanmer (mistaking the meaning) read do. Person objected, on the ground that it was thou and not influences which governed dost. Porson was certainly right, and we wonder how any one could ever have understood the passage in any other way. The mediævals had as much trouble in reconciling free-will with judicial astrology as we with the divine foreknowledge. A passage in Dante, it appears to us, throws light on the meaning of the Duke’s speech :—

“ Lo cielo i vostri movimenti inizia ;
Non dico tutti ; ma posto ch' io 'I dica
Lume v' è dato a bene ed a malizia,
E libero voler che, se fatica
Nelle prime battaglie col ciel dura,
Poi vince tutto se ben si notriea.”

Purg., Cant. xvi.

Cielo is here used for the influence of the stars, as is clear from a parallel passage in the “ Convito.” Accordingly, “ Though servile to all the skyey influences, it is thou, breath as thou art, that dost hourly afflict thy body with the results of sin.” But even if this be not the meaning, is Mr. White correct in saying that influence had no plural at that time ?9 Had he forgotten “the sweet influences of Pleiades”? The word occurs in this form not only in our version of the Bible, but in that of Cranmer, and in the “Breeches” Bible. So in Chapman’s “Byron’s Conspiracy,” (Ed. 1608, B.3,)

“ Where the beames of starres have carv’d
Their powerful influences."

Mr. White repeatedly couples together the translators of the Bible and Shakspeare, but he seems to have studied their grammar but carelessly. “ Whom therefore ye ignorantly worship, him declare I unto you,” is a case in point, and we ought never to forget our danger from that dusky personage who goes about “ seeking whom he may devour.” At a time when correction of the press was so imperfect, one instance of true construction should outweigh twenty false, and nothing could be easier than the mistake of who for whom, when the latter was written whō. A glance at Ben Jonson’s English Grammar is worth more than all theorizing. Mr. White thinks it probable that Shakspeare understood French, Latin, and Italian, but not—English !

The truth is, that, however forms of spelling varied, (as they must where both writers and printers spelt phonographically.) the forms of grammatical construction were as strict then as now. There were some differences of usage, as where two nominatives coupled by a conjunction severally governed the verb, and where certain nouns in the plural were joined with a verb in the singular, — as dealings, doings, tidings, odds, and as is still the ease with news. It is not impossible that the French termination in esse helped to make the confusion. We have in the opposite way made a plural of riches, which was once singular. Some persons used the strong preterites, and some the weak, — some said snew, thew, sew, and some snowed, thawed, sowed. Bishop Latimer used the preterite shew, which Mr. Bartlett, in his “ Dictionary of Americanisms,” pronounces to be the shibboleth of Bostonians. But such differences were orthoepic, and not syntactic.

We regret Mr. White’s glossological excursions the more because they are utterly supererogatory, and because they seem to imply a rashness of conclusion which can very seldom be laid to his charge as respects the text. He volunteers, without the least occasion for it, an opinion that abge and abide are the same word, (which they are not,) suggests that vile and vild (whose etymology, he says, is obscure) may be related to the AngloSaxon hyldan, and tells us that dom is Anglo-Saxon for house. He pronounces ex cathedrâ that besides is only a vulgar form of beside, though the question is still sub judice, and though the language has contrived adverbial and prepositional forms out of the distinction, as it has, in the case of the compounds with ward and wards, adverbial and adjectival ones.10 He de-

“ Di qua, di là, di su, di giù, gli mena.” clares that the distinction between shall and will was imperfectly known in Shakspeare’s time, though we believe it would not be difficult to prove that the distinction was more perfect in some respects than now. We the less value his opinion on these points as he himself shows an incomplete perception ot the difference between would and should. (See Vol. V. pp. 114, 115, “ We would now say, ' all liveliness,’” and “ We would now write, ‘the traits off,'” etc.) He says that the pronunciation commandèment was already going out of use two centuries and a half ago. Mr. Pegge speaks of it as a common Cockneyistn at the beginning of this century. Sometimes this hastiness, however, affects the value of an elucidatory note, as where he tells us that a principality is “ an angel of the highest rank next to divinity ” [deity], and quotes St. Paul, breaking off the passage at the word in question. But St. Paul goes on to say powers,—and there were, in fact, three orders of angels above the principalities, the highest being the Seraphim. An editor should be silent or correct, especially where there is no need of saying anything.

But it is after Mr. White has been bitten by the œstrum of Shakspearian pronunciation that he becomes thoroughly contradictory of himself, especially after he has taken up the notion that “ Much Ado about Nothing ” is “ Much Ado about Noting,” and that the th was not sounded in the England of Shakspeare. After that, his theory of rhetorical variety seems to become that of Geoffroy, “dire, redire, et se contredire.” First he tells us, (Vol. II. p. 94,) that “the old form 'murther’ should be retained because it is etymologically correct, and because it was the uniform orthography of the day, [a hasty assumption,] and the word was pronounced in accordance with it.” Next, (in order to sustain his anti-th theory,) he says, (Vol. III. p. 227,) that “ the last syllable of ' murder, ' then written murther, seems to have been pronounced somewhat like the same syllable of the French meurtre.” He assures us (Vol. III. p. 340) that raisin was pronounced as we now pronounce reason, and adds, “ The custom has not entirely passed away.” Certainly not, as any one who knows Thackeray's “ Mulligan of Ballymulligan ” is aware. But Mr. White (having forgotten for a moment his conclusion that swears was anciently sweers) quotes ( Vol. V. pp. 399—400) from the “Haven of Health” as follows:—Among us in England they be of two sorts, that is to say, great Raysons and small Raysons ” (the Italics are our own). In “ Love’s Labor's Lost,” he spells Biron Birone, (Chapman spelt it Byron,) as being nearer the supposed pronunciation of Shakspeare’s day ; but finding it rhyming with moon, he is obliged also to assume that moon was called mown, and is severe on Mr. Fox for saying Touloon. He forgets that we have other words of the same termination in English for whose pronunciation Mr. Fox did not set the fashion. The French termination on became oon in bassoon, pontoon, balloon, qalloon, spontoon, raccoon, (Fr. raton,) Quiberoon, Cape Bretoon, without any help from Mr. Fox. So also croon from (Fr.) caroyne,—of which Dr. Richardson (following Jamieson) gives a false etymology. The occurrence of pontoon in Blount's “ Glossographia,” published before Mr. Fox was born, shows the tendency of the language.11 Or did Mr. Fox invent the word boon ?

The pronunciation of words in Shakspeare’s time is a matter of no particular consequence, except that it may be made the basis of conjectural emendation. This consideration gives the question some importance, and, as error is one of those plants which propagate themselves from the root, it is well to attempt its thorough eradication at the outset.

Autolyeus sings,—

“ If tinkers may have leave to live,
And bear the sow-skin bowget;

Then my account I well may give,
And in the stocks avouch it."

Upon this Mr. White has the following note :—

“ ' The sow-skin bowget ’: — i. e. budget ; the change of orthography being made for the sake of the rhyme ; about which our early writers, contrary to the received opinion, were very particular. Even Ben Jonson, scholar and grammarian as he was, did not hesitate to make radical changes in orthography to obtain a perfect, in place of an imperfect rhyme. The fact is important in the history of our language." (Vol. V. pp. 398-9.)

Readers of our older literature are familiar with what the early writers of treatises on poetry say upon this subject, concerning which, under the head of licentia poetica, they give some rather minute directions. But we think Mr. White’s expression “radical changes” a little strong. The insurmountable difficulty, however, in the way of forming a decided judgment, is plain at the first glance, You have not, as Dr. Kitchener would say, caught your hare ; you have no standard. Quis custodiet ipsos custodes ? How shall you determine how your first word is pronounced ? and which of two rhyming words shall dominate the other? In the present instance how do we know that avouch was sounded as It is now ? Its being from the French would lead us to doubt it. And how do we know that bowget was not pronounced boodget, as it would be, according to Mr. White, if spelt budget ? Bishop Hall makes fool rhyme with cowl. That ou was sometimes pronounced oo is certain. Gill (of whom infra) says that the Boreales pronounced wound, waund, and gown, gaun or geaun.

Mr. White supposes that ea was sounded like ee. We are inclined to question it, and to think that here again the French element in our language has made confusion. It is certain that ea represents in many words the French e and ai,— as in measure and pleasure. The Irish, who were taught English by Anglo-Normans, persist in giving the ea its original sound (as baste for beast) ; and we Northern Yankees need not go five miles in any direction to hear maysure and playsure. How long did this pronunciation last in England ? to how many words did it extend? and did it infect any of Saxon root ? It is impossible to say. Was beat called bate ? One of Mr. White’s variations from the Folio is “ bull-baiting ” for “ bold-beating.” The mistake could have arisen only from the identity in sound of the ea in the one with ai in the other. Butler, too, rhymes drum-beat with combat. But beat is from the French, When we find least, (Saxon,) then, rhyming with feast, (French,) and also with best, (Shakspeare has beast and blest,) which is more probable, that best took the sound of beest, or that we have a slightly imperfect rhyme, with the ā somewhat shorter in one word than the other ? We think the latter. One of the very words adduced by Mr. White (yeasty) is spelt yesty in the Folio. But will rhymes help us? Let us see. Sir Thomas Wyat rhymes heares and hairs ; Sir Walter Raleigh, teares and despairs; Chapman, tear (verb) with ear and appear ; Shakspeare, ear with hair and fear, tears with hairs, and sea with play; Bishop Hall, years with rehearse and expires, and meales with quailes. Will Mr. White decide how the ea was sounded ? We think the stronger ease is made out for the ā than for the ee,—for swears as we now pronounce it, than for sweers ; though we fear our tired readers may be tempted to perform the ceremony implied by the verb without much regard to its orthoëpy.

Mr. White, tells ns that on and one were pronounced alike, because Speed puns upon their assonance. He inclines to the opinion that o had commonly the long sound, as in tone, and supposes both words to have been pronounced like own. But was absolute identity in sound ever necessary to a pun, especially in those simpler and happier days? Puttenham, in his “ English Poesy,” gives as a specimen of the art in those days a play upon the words lubber and lover, appreciable now only by Ethiopian minstrels, but interesting as showing that the tendency of b and v to run together was more sensible then than now.12 But Shakspeare unfortunately rhymes on with man, in which case we must either give the one word the Scotch pronunciation of man, or Hibernieize the other into ahn. So we find son, which according to Mr. White would be pronounced sone, coquetting with sun ; and Dr. Donne, who ought to have called himself Doane, was ignorant enough to remain all his life Dr. Dunn. But the fact is, that rhymes are no safe guides, for they were not so perfect as Mr. White would have us believe. Shakspeare rhymed broken with open, sentinel with kill, and downs with hounds, —to go no farther. Did he, (dreadful thought !) in that imperfect rhyme of leap and swept, (Merry Wives,) call the former lape and the latter (Yankicè) swep'? This would jump with Mr. "White’s oftenrecurring suggestion of the Elizabethanism of our provincial dialect.

Mr. White speaks of the vowels as having had their “pure sound” in the Elizabethan age. We are not sure if we understand him rightly ; but have they lost it ? We English have the same vowel-sounds with other nations, but indicate them by different signs. Slight changes in orthoëpy we cannot account for, except by pleading the general issue of custom. Why should foot and boot be sounded differently ? Why food and good ? Why should the Yankee mark the distinction between the two former words, and blur it in the ease of the latter, thereby incurring the awful displeasure of the “ Autocrat,” who trusses him, falcon-like, before his million readers and adorers ? Why should the Frenchman call his wooden shoe a sabot and his old shoe a savate, both from the same root? Alas, we must too often in philology take Rabelais's reason for Friar John’s nose ! With regard to the pronunciation of the vowels in Queen Bess’s days, so much is probable, — that the a in words from the French had more of the ah sound than now, if rhymes may be trusted. We find placed rhyming with past ; we find the participle soft formed from save. One relic of this occurs to us as still surviving in that slang which preserves for us so many glossologic treasures,—chauffer,—to chafe, (in the sense of angering,)—to chaff. The same is true of our Yankee chamber, danger, and manger, cited by Mr. White.

If we have apprehended the bearing of Mr. White’s quotation from Butler’s English Grammar, we think he has misapprehended Butler. We wish he had not broken the extract off so short, with an etc. What did Butler mean by “ oo short”? Mr. "White draws the inference that Puck was called Pook, and that, since it was made to rhyme with luck, that word and “ all of similar orthography ” were pronounced with an oo. Did our ancestors have no short u, answering somewhat to the sound of that vowel in the French un ? We have little doubt of it ; and since Mr. White repeats so often that wo Yankees have retained the Elizabethan words and sounds, may we not claim their pronunciation of put (like but) and sut for soot, as relics of it ? If they had it not, how soon did it come into the language ? Already we find Lord Herbert of Chortmry using pundonnore, (point d'honneur,) which may supply Dr. Richardson with the link he wants between pun and point, for the next edition of his Dictionary. Alexander Gill, head-master of St. Paul’s School and Milton’s teacher, published his “ Logonomia Anglica” in 1621, a book which throws more light on the contemporary pronunciation of English than any other we know of. He makes three forms of u : the tenuis, as in use,— the crassa brevis, as in us,—and the longa, as in ooze. The Saxons had, doubtless, two sounds of oo, a long and a short ; and the Normans brought them a third in the French liquid u, if they had it not before. We say if because their organs have boggled so at the sound in certain combinations, ending in such wine-thick success as piktcher, portraitcheher.

“ On earth's green cinkcher fell a heavy Jew ! ” That the u had formerly, in many cases, the sound attributed to it by Mr. White, we have no question ; that it had that sound when Shakspeare wrote "Midsummer Night’s Dream," and in such words as luck, is not so clear to us. We suspect that form of it was already retreating into the provincial dialects, where it still survives.

Another of Mr. White’s theories is that moon was pronounced mown. Perhaps it was ; but, if so, it is singular that this pronunciation is not found in any dialect of our language where almost every other archaism is caught skulking. And why was it spelt moon? When did soon and spoon take their present form and sound ? That oo was not sounded like o long is certain from Webbe’s saying, that, to make poore and doore rhyme with more, they must be written pore and dore. Mr, White says also that shrew was pronounced shrow, and cites as parallel eases sew and shew. If New England authority be worth anything, we have the old sound here in the pronunciation soo, once universal, and according both with Saxon and Latin analogy. Moreover, Bishop Hall rhymes shew with mew and sue ; so that it will not do to be positive.

We come now to the theory on which Mr. White lays the greatest stress, and for being the first to broach which he even claims credit. That credit we frankly concede him, and we shall discuss the point more fully because there is definite and positive evidence about it, and because we think we shall be able to convince even Mr. White himself that he is wrong. This theory is, that the th was sounded like t in the word nothing, and in various other words, at the beginning of the seventeenth century. This certainly seems an unaccountable anomaly at very first sight ; for we know that two sounds of th existed before that period, and exist now. What singular frost was it that froze the sound in a few words for a few years and left it fluent in all others ?

Schoolmaster Gill, in his “ Logonomia,”

already referred to, gives an interesting and curious reason for the loss from our alphabet of the Anglo-Saxon signs for the grave and acute th. He attributes it to the fact, that, when Henry VII. invited Wynken de Word over from Germany to print for the first time in English, the foreign fount of types was necessarily wanting in signs to express those Saxon sounds. Accordingly, the form th was required to stand for both. For the Germans, he says, call thing, Ding, and father, Vater.13 In his alphabet he gives though and thistle as expressing the two sounds, which is precisely consonant with present usage. On page 152, speaking of the difficulties of English pronunciation to a foreigner, he says, “ Etenim si has quiuque voculas, What think the chosen Judges ? quid consent deed judices ? rectè protuloris, onmem loquendi difficultatem superásti.” Ben Jonson in his Grammar gives similar examples, and speaks also of the loss of the Saxon signs as having made a confusion. It is certain, then, at least, that Shakspeare did not pronounce thing, ting,—or, if he did, that others did not, as we shall presently show.

Most of Mr. White’s arguments in support of his opinion are theoretic ; the examples by which he endeavors to sustain it tell, with one exception, against him. That exception is his quoting from one of Shakspeare’s sonnets the rhyme doting and nothing. But this proves nothing (noting ?); for we have already shown that Shakspeare, like all his contemporaries, was often content with assonance, where identity could not be had, in rhyming. Generally, indeed, the argument from rhymes is like that of the Irishman who insisted that full must be pronounced like dull, because he found it rhyming with bŭll. Mr. White also brings torward the fact, that moth is spelt mote, and argues therefrom that the name of the Page Moth has hitherto been misconceived. But how many th sounds does he mean to rob us of ? And how was moth really pronounced ? Ben Jonson rhymes it with sloth and cloth ; Herrick, with cloth. Alexander Gill tells us (p. 16) that it was a Northern provincialism to pronounce cloth long (like both), and accordingly we are safe in believing that moth was pronounced precisely as it is now. Mr. White again endeavors to find support in the fact that Armado and renegado are spelt Armatho and renegatho in the Folio. Of course they were, (just as the Italian Petruccio and Boraccio are spelt Petruchio and Borachio,) because, being Spanish words, they were so pronounced. His argument from the frequent substitution of had for hath is equally inconclusive, because we may either suppose it a misprint, or, as is possible, a mistake of the printer for the Anglo-Saxon sign for th, winch, as many contractions certainly did, may have survived in writing long after it was banished from print, and which would be easily confounded with d. Can Mr. White find an example of dod for doth, where the Word could not be doubtful to the compositor? The inability of foreigners to pronounce the th was often made a source of fun on the stage, Puttenham speaks of dousand for thousand as a vulgarism. Shakspeare himself makes Caius say dat, and “ by my trot" ; and in Marston's “Dutch Courtezan,” (Act ii. Sc. 1,) we find Francischina, (a Dutch woman,) saying, “You have brought mine love, mine honor, mine body, all to noting !" — to which her interlocutrix answers, “ To nothing ! ” It is plain that Murston did not harden his ths into is, nor suppose that his audience were in the habit of doing so. How did Ben Jonsnn pronounce the word? He shall answer for himself (Vision of Delight)

“ Some that are proper and signify o’thing,
And some another, and some that are nothing.”

But perhaps he pronounced thing, ting ? If he did, Herrick as surely did not, for he has

“ Maides should say, or virgins sing,
Herrick keeps, as holds, nothing,”

where the accent divides the word into its original elements, and where it is out of the question that he should lay the emphasis on a bit of broken English. As to the hs which Mr. White adduces in such names as Anthony and such words as authority, they have no bearing on the question, for those words are not English, and the h in them is perhaps only a trace of that tendency in t to soften itself before certain vowels and before r, as d also does, with a slight sound of theta, especially on the thick tongues of foreigners. Shakspeare makes Fluellen say athversary; and the Latin t was corrupted first to d and then to dth in Spanish. The h here has not so much meaning as the h which has crept into Bosporus, for that is only the common change of p to f, corresponding to v for b. So when Mr. White reads annotanize rather than anatomize, because the Folio has annothanize, we might point him to Minsheu’s “ Spanish Dictionary,” where, in the earlier editions, we find ’ anathomia. in lanthorn, another word adduced by Mr. Wgite, the h is a vulgarism of spelling introduced to give meaning to a foreign word, the termination being supposed to bo derived from the material (horn) of which lanterns were formerly made,— like Bully Ruffian for Bellerophon in our time, and Sir Piers Morgan for Prirnaguet three centuries ago. As for Cone and t'other, they should be ’tone and 'tother, being elisions for that one and that other, relies of the Anglo-Saxon declinable definite article, still used in Frisic.

We have been minute in criticizing this part of Mr. ’White’s notes, because we think his investigations misdirected, the results at which he arrives mistaken, and because we hope to persuade him to keep a tighter rein on his philological zeal in future. Even could he show what the pronunciation of Shakspeare's day was, it is idle to encumber his edition with such disquisitions, for we shall not find Shakspeare clearer for not reading him in his and our mother-tongue. The field of philology is famous tor its mare’snests ; and, if imaginary eggs are worth little, is it worth while brooding on imaginary chalk ones, nest-eggs of delusion ? Life is short and Shakspeare long. We believe the pronunciation of Shakspeare's day to have been so qualified with perfectly understood provincialisms as to have allowed puns and rhymes impossible now. It is not eighty years since you could tell the county14 of every country member of Parliament by his speech. Speculations like Mr. White’s would be better placed iu a monograph by themselves. We have subjected his volumes to a laborious examination such as few books receive, because the text of Shakspeare is a matter of common and great concern, and they have borne the trial, except in these lew impertinent particulars, admirably. Mr. Dyce and Mr. Singer are only dry commonplace-books of illustrative quotations ; Mr. Collier has not Wholly recovered from his “ Corr. fo.”madness ; Mr. Knight (with many eminent advantages as an editor) is too diffuse ; and we repeat our honest persuasion, that Mr. White has thus far given us the best extant text, while the fulness of his notes gives his edition almost the value of a variorum. We shall look with great interest for his succeeding volumes.

In the introductory part of this article, we said that it was doubtful if Shakspeare had any conscious moral intention in his writings. We meant only that he was purely and primarily poet. And while he was an English poet in a sense that is true of no other, his method was thoroughly Greek, yet with this remarkable differenee,—that, while the Greek dramatists took purely national themes and gave them a universal interest by their mode of treatment, he took what may be called cosmopolitan traditions, legends of human nature, and nationalized them, by the infusion of his perfectly Anglican breadth of character and solidity of understand-

ing. Wonderful as his imagination and fancy are, his perspicacity and artistic discretion are more so. This country tradesman’s son, coming up to London, could set high-bred wits, like Beaumont, uncopiable lessons in drawing gentlemen such as are seen nowhere else but on the canvas of Titian ; he could take Ulysses away from Homer and expand the shrewd and crafty islander into a statesman whose words are the pith of history. But what makes him yet more exceptional was his utterly unimpeachable judgment, and that poise of character which enabled him to be at once the greatest of poets and so unnoticeable a good citizen as to leave no incidents for biography. His material was never far-sought ; (it is still disputed whether the fullest head of which we have record were cultivated beyond the range of grammar-school precedent !) but he used it with a poetic instinct which we cannot parallel, identified himself with it, yet remained always its born and questionless master. He finds the Clown and Fool upon the stage,—he makes them the tools of his pleasantry, his satire, and even his pathos ; he finds a fading rustic superstition, and shapes out of it ideal Pucks, Titanias, and A riels, in whose existence statesmen and scholars believe forever. Always poet, he subjects all to the ends of his art, and gives in Hamlet the churchyard-ghost, but with the cothurnus on, — the messenger of God’s revenge against murder ; always philosopher, he traces in Macbeth the metaphysics of apparitions, painting the shadowy Banquo only on the o’erwrought brain of the murderer, and staining the hand of his wife-accomplice (because she was the more refined and higher nature) with the disgustful blood-spot that is not there. We say he had no moral intention, for the reason, that, as artist, it was not his to deal with the realities, but only with the shows of things ; yet, with a temperament so just, an insight so inevitable as his, it was impossible that the moral reality, which underlies the mirage of the poet’s vision, should not always be suggested. His humor and satire are never of the destructive kind ; what he does in that way is suggestive only,— not breaking bubbles with Thor's hammer, but puffing them away with the breath of a Clown, or shivering them with the light laugh of a genial cynie. Men go about to prove the existence of a God ! Was it a bit of phosphorus, that brain whose creations are so real, that, mixing with them, we feel as if we ourselves were but fleeting magiclantern shadows ?

But higher even than the genius, we rate the character of this unique man, and the grand impersonality of what he wrote. What has he told us of himself ? In our self-exploiting nineteenth century, with its melancholy liver-complaint, how serene and high he seems ! If he had sorrows, he has made them the woof of everlasting consolation to his kind ; and if, as poets are wont to whine, the outward world was cold to him, it’s biting air did but trace itself in loveliest frost-work of fancy on the many windows of that self-centred and cheerful soul.

  1. * The Works of William Shakspeare. Edited, etc., by RICHARD GRANT WHITE. Vols. II, III., IV., and V. Buston : Little, Brown, & Co. 1858.
  2. Vol. III. p. 348, note, He grounds his belief, not on the misprinting of words, but on the misplacing of whole paragraphs. We were struck with the same thing in the original edition of Chapman’s Biron's Comspiracy and Tragedy. One of the misprints which Mr. Spedding notices affords both a hint and a warning to the conjectural emendntor. In the edition of The Advancement of Learning printed in 1605 occurs the word dusnesse. In a later edition this was cojecturally changed to business ; but the occurrence of vertigine in the Latin translation enables Mr. Spedding to print rightly, dizziness.
  3. Die Shakspeare-Literatur bis Mitte 1854. Zusammengestellt und herausgegeben von P. H. SILLIG. Leipzig. 1854.
  4. Among which (setting aside a few remarks of Goethe) we are inclined to value as highly as anything Tieck’s Essay on the Element of the Wonderful in Shakspeare.
  5. Bacon’s Works, by Ellis, Spedding, & Heath. Vol. III. p. 303, note.
  6. Mr. Dyce says the word supplied by Rowe was “ fasting,” a manifest slip of the pen, and worth notice only as showing how easily errors may be Committed.
  7. For the comprehension of the laws of some of the lighter measures, no book is so instructive as Mother Goose's Melodies. That excellent lady was one of the best metrists the language has produced.
  8. Suppression of the Monasteries, p. 13.
  9. Mr. White cites Dr. Richardson, but the Doctor is not always a safe guide.
  10. It is singular, if the s be a corruption, that the Germans should have fallen into the same in their vorwärts and rükwärts. We are inclined to conjecture the s a genitival one, supplying the place of a missing of and von respectively. We formerly said, “ of this side,” “ of that side,” etc. ; but the idiomatic sense of of is so entirely lost, that Mr. Craik (English of Shakspeare) actually supposes o'clock and o'nights to be contractions of “on the clock,” “on nights,” and that, although we still say habitually, " of late,” “of old.” The French use of de, and the Italian of di, is parallel. The Italians have also their avanti and davante, and no one forgets Dante’s
  11. Let us remark, in passing, that the spellings “ Berowne,” “ Petruehio,” and “ Bornchio” are strong indications that the manuscript copies of the plays in which they occur were dictated to an amanuensis.
  12. Everybody remembers how Scaliger illustrated it in the case of the Gascons,—Felices, quibus vivere est bibere.
  13. Præfatio, p. 6. We abridge his statement.
  14. Mr. White is mistaken in thinking that to say “ my country ” for “ my county ” was a peculiarity of Shallow. It was common in the last century in England. He is wrong also in thinking that he was restoring a characteristic vulgarism in aleven. Gabriel Harvey uses it, and says there is no difference in sound between that and a leaven.