of Hanmer,' for there Pope's edition was compared unfavourably, though courteously, with that of Theobald. (See the Correspondence of Sir Thomas Hanmer, 1838, pp. 80, etc.)

WILLIAM WARBURTON

"THE Works of Shakespear in Eight Volumes. The Genuine Text (collated with all the former Editions, and then corrected and emended) is here settled: Being restored from the Blunders of the first Editors, and the Interpolations of the two Last; with a Comment and Notes, Critical and Explanatory. By Mr. Pope and Mr. Warburton. 1747.”

So runs the title of what is generally known as Warburton's edition. It is professedly a revised issue of Pope's. In point of fact it is founded, not on Pope's text, but on the text of Theobald. Warburton does not follow even Pope's arrangement of the plays. With one insignificant transposition, he gives them in the identical. order in which they appear in Theobald's edition. And though he has his gibe at Hanmer in the title page, he incorporates Hanmer's glossary word for word, and almost letter for letter. But his animosity betrays him in his Preface. He complains of the trouble which he has been put to by the last two editors, for he has had "not only their interpolations to throw out, but the genuine text to replace and establish in its stead." He would not have had this trouble had he used Pope's edition. He may have believed that what he took from Hanmer and Theobald was very much less than what they had received from him. According to his own statements he supplied each with a large number of important emendations which

1 Mr. Lounsbury has said that Hanmer's authorship of this pamphlet "is so improbable that it may be called impossible. The sentiments expressed in it are not Hanmer's sentiments" (Shakespeare as a Dramatic Artist, p. 60). But he has omitted to tell us how he knows what Hanmer's sentiments are.

had been used without acknowledgment. Yet this does not excuse the suggestion that his edition was founded on Pope's.

The explanation is Warburton's just pride in Pope's friendship, a pride which he took every opportunity of gratifying and parading. But in his earlier days he had been, all unknown to Pope, an enemy. He escaped the Dunciad by reason of his obscurity. He was the friend of Concanen and Theobald, and in a letter to the former, containing his earliest extant attempt at Shakespearian criticism, he observes that "Dryden borrows for want of leisure, and Pope for want of genius." The letter is dated 2nd January, 1726-27, but luckily for Warburton it was not publicly known till, in 1766, Akenside used it as a means of paying off old scores (see Nichols, Illustrations, ii., pp. 195-198, and Malone's Shakespeare, 1821, vol. xii., pp. 157, etc.). It is of interest also from the fact that Theobald transcribed from it almost verbatim the comparison of Shakespeare and Addison in the Preface of 1733.

Theobald's deference and even humility must have confirmed Warburton's confidence in his own critical powers, but it was not till Theobald's Shakespeare was published that Warburton first hinted at an edition by himself. From 1729 to 1733 he had given Theobald loyally of his best. On the appearance of the edition he betrayed some annoyance that all his suggestions had not been accepted. "I have transcribed about fifty emendations and remarks," he writes on 17th May, 1734, "which I have at several times sent you, omitted in the Edition of Shakespeare, which, I am sure, are better than any of mine published there. These I shall convey to you soon, and desire you to publish them (as omitted by being mislaid) in your Edition of the 'Poems,' which I hope you will soon make ready for the press" (Nichols, Illustrations, ii., p. 634). These he duly forwarded, along with a flattering criticism of the edition. He gives no hint that he may himself turn them to account, till the

October of the same year, when he writes, “I have a great number of notes, etc., on Shakespeare, for some future Edition" (id., p. 654). Here the correspondence ceases. Up to this time Warburton had aided Theobald's schemes of retaliating on Pope. We have his own

authority for attributing to him the remark in Theobald's Preface that "it seems a moot point whether Mr. Pope has done most injury to Shakespeare as his Editor and Encomiast, or Mr. Rymer done him service as his Rival and Censurer." It is probable even that he had a hand in Theobald's and Concanen's Art of a Poet's sinking in Reputation, or a Supplement to the Art of sinking in Poetry.

Warburton then gave his services to Sir Thomas Hanmer. They had become acquainted by 1736, and they corresponded frequently till Warburton's visit to Mildenhall in May, 1737. It is needless to enter into their quarrel, for the interest of it is purely personal. Hanmer told his version of it to Joseph Smith, the Provost of Queen's College, Oxford, in his letter of 28th October, 1742, and Warburton gave his very different account nineteen years later, on 29th January, 1761, when he discovered that Hanmer's letter was about to be published in the Biographia Britannica. In the absence of further evidence it is impossible to decide with whom the truth rests. The dignity of Hanmer's letter wins favour by contrast with the violence of Warburton's. Yet there must be some truth in Warburton's circumstantial details, though his feelings may have prevented his seeing them in proper perspective. He He says that Hanmer used his notes without his knowledge. The statement is probably accurate. But when Hanmer says that Warburton's notes were 'sometimes just but mostly wild and out of the way,' we are satisfied, from what we know of Warburton's other work, that the criticism was merited. Hanmer apparently found that Warburton did not give him much help, and Warburton may have been annoyed at failing to find Hanmer as docile as Theobald. They had quarrelled by September, 1739,

when Warburton records that he has got all his letters and papers out of Sir Thomas Hanmer's hands (Nichols, Illustrations, ii. 110. See also Nichols, Literary Anecdotes, v. 588-590; Biographia Britannica, vol vi. (1763), pp. 3743-4, and appendix, p. 223; Philip Nichols, The Castrated Letter of Sir Thomas Hanmer, 1763; and Bunbury, Correspondence of Hanmer, pp. 85-90).

During his friendship with Hanmer, Warburton had not lost sight of his own edition. The quarrel was precipitated by Hanmer's discovery of Warburton's intention; but there is no evidence that Warburton had tried to conceal it. Everything goes to show that each editor was so immersed in his own scheme that he regarded the other as his collaborator. Hanmer did not know at first that Warburton was planning an edition as a means of making some money; and Warburton had not suspected that Hanmer would publish an edition at all. This is the only reasonable inference to be drawn from a letter written by him to the Rev. Thomas Birch in October, 1737- "You are pleased to enquire about Shakespeare," he writes. "I believe (to tell it as a secret) I shall, after I have got the whole of this work out of my hands which I am now engaged in, give an Edition of it to the world. Sir Thomas Hanmer has a true critical genius, and has done great things in this Author; so you may expect to see a very extraordinary edition of its kind. I intend to draw up and prefix to it a just and complete critique on Shakespeare and his Works." This letter reads curiously in the light of after events; but it proves, if it proves anything, that Warburton did not suspect Hanmer's scheme, and believed that Hanmer was helping him in his edition. It is equally plain that Hanmer believed he was being helped by Warburton.

Announcements of Warburton's forthcoming edition were made in Birch's article on Shakespeare in the General Dictionary, Historical and Critical, vol. ix., January, 1739-40, and in the History of the Works of the Learned for 1740 (Nichols, Illustrations, ii., pp. 72-4,

and Lit. Anecdotes, v., p. 559). But there were no signs of its appearance, and Hanmer had good reason to say in October, 1742, in his letter to Joseph Smith, “I am satisfied there is no edition coming or likely to come from Warburton; but it is a report raised to support some little purpose or other, of which I see there are many on foot." Up to this time Warburton had merely suggested emendations and puzzled out explanations: he had not set to work seriously on the complete text. Since 1740, when he published the Vindication of the Essay on Man, his critical and polemical talents had been devoted to the service of Pope. To judge from what he says in his Preface, his project of an edition of Shakespeare might have been abandoned had not Pope persuaded him to proceed with it by the offer of making it appear their joint work. Pope had nothing to do with it, for it was not begun till after his death. But it was a cruel fate that what professed to be a new edition of his 'Shakespeare' should really be founded on Theobald's. The knowledge of Theobald's use of the Quartos and Folios led Warburton to commit a detestable quibble on his title-page. There is said to be no evidence that Warburton himself had consulted them. Yet the statement that his text is "collated with all the former editions" is not absolutely without the bounds of truth: Theobald had consulted them, and Warburton does not say that he had consulted them himself. What Warburton did was to give full play to his talent for emendation, and to indulge what Johnson called his rage for saying something when there is nothing to be said. Yet we are too prone to depreciate Warburton. He has prejudiced his reputation by his arrogance and his contemptuous malignity; but we do him an injustice if we endeavour to gauge his merit only by comparing his edition with those of his immediate predecessors. No early editor of Shakespeare has gained more than Theobald and suffered more than Warburton by the custom of attributing the whole merit of an edition to