espeare by subscription,' Sir T. Hanmer
'thrust himself into the employment.'

Whether from the sanction thus given, or from its typographical beauty,
or from the plausibility of its new readings, this edition continued in
favour, and even 'rose to the price of 10_l._ 10_s._ before it was
reprinted in 1770-1, while Pope's, in quarto, at the same period sold
off at Tonson's sale for 16_s._ per copy.' Bohn, p. 2260.

In 1747, three years after Pope's death, another edition of Shakespeare
based upon his appeared, edited by Mr Warburton.

On the title-page are these words: '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[9].'

The latter, in his preface, vehemently attacks Theobald and Hanmer,
accusing both of plagiarism and even fraud. 'The one was recommended to
me as a poor Man, the other as a poor Critic: and to each of them, at
different times, I communicated a great number of Observations, which
they managed as they saw fit to the Relief of their several distresses.
As to Mr _Theobald_, who wanted Money, I allowed him to print what I
gave him for his own Advantage: and he allowed himself in the Liberty of
taking one Part for his own, and sequestering another for the Benefit,
as I supposed, of some future Edition. But as to the _Oxford Editor_,
who wanted nothing, but what he might very well be without, the
reputation of a Critic, I could not so easily forgive him for
trafficking in my Papers without my knowledge; and when that Project
fail'd, for employing a number of my Conjectures in his Edition against
my express Desire not to have that Honour done unto me.'

Again he says of Hanmer: 'Having a number of my Conjectures before him,
he took as many as he saw fit to work upon, and by changing them to
something, he thought, synonimous or similar, he made them his own,' &c.
&c. p. xii.

Of his own performance Warburton says, 'The Notes in this Edition take
in the whole Compass of Criticism. The first sort is employed in
restoring the Poet's genuine Text; but in those places only where it
labours with inextricable Nonsense. In which, how much soever I may have
given scope to critical Conjecture, when the old Copies failed me,
I have indulged nothing to Fancy or Imagination; but have