Obrázky stránek
PDF
ePub

A N

ACCOUNT

OF THE

HARLEIAN

LIBRARY.

T

O folicit a subscription for a catalogue of books exposed to fale, is an attempt for which some apology cannot but be neceffary; for few would willingly contribute to the expence of volumes, by which neither instruction nor entertainment could be afforded, from which only the bookfeller could expect advantage, and of which the only use must cease, at the difperfion of the library.

Nor could the reasonableness of an univerfal rejection of our propofal be denied, if this catalogue were to be compiled with no other view, than that of promoting the fale of the books which it enumerates, and drawn up with that inaccuracy and confufion which may be found in thofe that are daily published.

But our defign, like our propofal, is uncommon, and to be prosecuted at a very uncommon expence; it being intended, that the books fhall be diftributed into their diftinct claffes, and every clafs ranged with fome regard to the age of the writers; that every book fhall be accurately defcribed; that the VOL. IX.

Z

pecu

which all works of genius fhall finally be tried, is fuch, that perhaps it never yet had reader or spectator, who did not think it too foon at an end.

MEASURE FOR MEASURE.

There is perhaps not one of Shakespeare's plats more darkened than this, by the peculiarities of its author, and the unfkilfulness of its editors, by ditortions of phrafe, or negligence of tranfcrip

tion.

The novel of Giraldi Cyntbio, from which StakeSpeare is fuppofed to have borrowed this fable, ray be read in Shakespeare illustrated, elegantly tranflated, with remarks, which will affift the enquirer to 2.1cover how much abfurdity Shakespeare has admitted or avoided.

I cannot but fufpect that fome other had newmodelled the novel of Cynthio, or written a ftory which in fome particulars refembled it, and that Cynthio was not the author whom Shakespeare immediately followed. The emperor in Cynthio is named Maximine; the duke, in Shakespeare's enumeration of the perfons of the drama, is called incentre. This appears a very flight remark; but fince the duke has no name in the play, nor is ever mentioned but by his title, why fhould he be called Vincentia among the perfons, but becaufe the name was copied from the story, and placed fuperfluoufly at the head of the lift by the mere habit of tranfcription? It is therefore likely that there was then a ftory of incentio duke of Vienna, different from that of Maximine emperor of the Romans.

of

Of this play the light or comick part is very natural and pleafing, but the grave fcenes, if a few paffages be excepted, have more labour than elegance. The plot is rather intricate than artful. The time of the action is indefinite; fome time, we know not how much, must have elapfed between the recefs of the duke and the imprisonment of Claudio ; for he must have learned the ftory of Mariana in his difguife, or he delegated his power to a man already known to be corrupted. The unities of action and place are fufficiently preserved.

LOVE'S LABOUR's LOST.

In this play, which all the editors have concurred to cenfure, and fome have rejected as unworthy of our poet, it must be confeffed that there are many paffages mean, childish, and vulgar; and fome which ought not to have been exhibited, as we are told they were, to a maiden queen. But there are scattered through the whole many fparks of genius; nor is there any play that has more evident marks of the hand of Shakespeare.

MIDSUMMER NIGHT'S DREAM.

Wild and fantastical as this play is, all the parts in their various modes are well written, and give the kind of pleasure which the author defigned. Fairies in his time were much in fashion; common tradition had made them familiar, and Spenfer's poem had made them great.

[blocks in formation]

MERCHANT OF VENICE.

It has been lately difcovered, that this fable is taken from a story in the Pecorone of Giovanni Fiorentino, a novelift, who wrote in 1378. The story has been published in English, and I have epitomized the tranflation. The tranflator is of opinion, that the choice of the cafkets is borrowed from a tale of Boccace, which I have likewife abridged, though I believe that Shakespeare must have had fome other novel in view.

Of the MERCHANT of VENICE the ftyle is even and eafy, with few peculiarities of diction, or anomalies of conftruction. The comick part raifes laughter, and the ferious fixes expectation. The probability of either one or the other story cannot be maintained. The union of two actions in one event is in this drama eminently happy. Dryden was much pleafed with his own addrefs in connecting the two plots of his Spanish Friar, which yet, I believe, the critick will find excelled by this play.

AS YOU LIKE IT.

Of this play the fable is wild and pleafing. I know not how the ladies will approve the facility with which both Rofalind and Celia give away their hearts. To Celia much may be forgiven for the heroifin of her friendship. The character of Jaques is natural and well preferved. The comick dialogue is very sprightly, with lefs mixture of low buffoonery than in fome other plays; and the graver part is elegant and harmonious. By haftening to the end of his work, Shakespeare fuppreffed the dialogue between

5

between the ufurper and the hermit, and loft an opportunity of exhibiting a moral leffon in which he might have found matter worthy of his highest

powers,

TAMING OF THE SHREW.

Of this play the two plots are fo well united, that they can hardly be called two without injury to the art with which they are interwoven. The attention is entertained with all the variety of a double plot, yet is not distracted by unconnected incidents.

The part between Katharine and Petruchio is eminently spritely and diverting. At the marriage of Bianca the arrival of the real father, perhaps, produces more perplexity than pleasure. The whole play is very popular and diverting,

ALL'S WELL THAT ENDS WELL.

This play has many delightful scenes, though not fufficiently probable, and fome happy characters, though not new, nor produced by any deep knowledge of human nature. Parolles is a boafter and a coward, fuch as has always been the fport of the ftage, but perhaps never raised more laughter or contempt than in the hands of Shakespeare.

I cannot reconcile my heart to Bertram; a man noble without generofity, and young without truth; who marries Helen as a coward, and leaves her as a profligate when he is dead by his unkindness, fneaks home to a fecond marriage, is accused by a

[blocks in formation]
« PředchozíPokračovat »