discredited or
forgotten. The present volume shows that the eighteenth century knew many
things which the nineteenth has rediscovered for itself.

It is at least eighty years since most of these essays were reprinted.
Rowe's _Account of Shakespeare_ is given in its original and complete form
for the first time, it is believed, since 1714; what was printed in the
early Variorum editions, and previously in almost every edition since
1725, was Pope's version of Rowe's _Account_. Dennis's Essay has not
appeared since the author republished it in 1721. In all cases the texts
have been collated with the originals; and the more important changes in
the editions published in the lifetime of the author are indicated in the
Introduction or Notes.

The Introduction has been planned to show the main lines in the
development of Shakespeare's reputation, and to prove that the new
criticism, which is said to begin with Coleridge, takes its rise as early
as the third quarter of the eighteenth century. On the question of
Theobald's qualifications as an editor, it would appear that we must
subscribe to the deliberate verdict of Johnson. We require strong evidence
before we may disregard contemporary opinion, and in Theobald's case there
is abundant evidence to confirm Johnson's view. Johnson's own edition, on
the other hand, has not received justice during the last century.

It is a pleasure to the Editor to record his obligations to Professor
Raleigh, Mr. Gregory Smith, and Mr. J. H. Lobban.

EDINBURGH, _October_, 1903.

INTRODUCTION. SHAKESPEARIAN CRITICISM IN THE EIGHTEENTH CENTURY.

The early nineteenth century was too readily convinced by Coleridge and
Hazlitt that they were the first to recognise and to explain the greatness
of Shakespeare. If amends have recently been made to the literary ideals
of Pope and Johnson, the reaction has not yet extended to Shakespearian
criticism. Are we not still inclined to hold the verdicts of Hume and
Chesterfield as representative of eighteenth-century opinion, and to find
proof of a lack of appreciation in the editorial travesties of the
playhouse? To this century, as much as to the nineteenth, Shakespeare was
the glory of English letters. So Pope and Johnson had stated in
unequivocal language, which should not have been forgotten. "He is not so
much an imitator as an instrument of Nature," said Pope, "and 'tis not so
just to say that he speaks from her as that she speaks through