those Places only where it labours with inextricable Nonsense. In which,
how much soever I may have given Scope to critical Conjecture, where the
old Copies failed me, I have indulged nothing to Fancy or Imagination; but
have religiously observed the severe Canons of literal Criticism; as may
be seen from the Reasons accompanying every Alteration of the common Text.
Nor would a different Conduct have become a Critic whose greatest
Attention, in this part, was to vindicate the established Reading from
Interpolations occasioned by the fanciful Extravagancies of others. I once
intended to have given the Reader a _body of Canons_, for literal
Criticism, drawn out in form; as well such as concern the Art in general,
as those that arise from the Nature and Circumstances of our Author's
Works in particular. And this for two Reasons. First, To give the
_unlearned Reader_ a just Idea, and consequently a better Opinion of the
Art of Criticism, now sunk very low in the popular Esteem, by the Attempts
of some who would needs exercise it without either natural or acquired
Talents; and by the ill Success of others, who seemed to have lost both,
when they came to try them upon _English_ Authors. Secondly, To deter the
_unlearned Writer_ from wantonly trifling with an Art he is a Stranger to,
at the Expence of his own Reputation, and the Integrity of the Text of
established Authors. But these Uses may be well supplied by what is
occasionally said upon the Subject, in the Course of the following
Remarks.

II. The second sort of Notes consists in an Explanation of the Author's
Meaning, when, by one or more of these Causes, it becomes obscure; either
from a _licentious Use of Terms_; or a _hard or ungrammatical
Construction_; or lastly, from _far-fetch'd or quaint Allusions_.

1. This licentious Use of Words is almost peculiar to the Language of
_Shakespear_. To common Terms he hath affixed Meanings of his own,
unauthorised by Use, and not to be justified by Analogy. And this Liberty
he hath taken with the noblest Parts of Speech, such as _Mixed-modes_;
which, as they are most susceptible of Abuse, so their Abuse most hurts
the Clearness of the Discourse. The Critics (to whom _Shakespear_'s
Licence was still as much a Secret as his Meaning, which that Licence had
obscured) fell into two contrary Mistakes; but equally injurious to his
Reputation and his Writings. For some of them, observing a Darkness that
pervaded his whole Expression,