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Of criticism of what has been called the higher kind, I recommend thereading of very little, or better, none at all. Read Shakespeare; seekaid to understand his language, if that be in any way obscure to you;but that once comprehended, apprehension of his purpose and meaning willcome untold to those who can attain it in any way. In my own edition Iavoided as much as possible the introduction of æsthetic criticism, notbecause I felt incapable of writing it; for it is easy work; on thecontrary, I freely essayed it when it was necessary as an aid to thesettlement of the text, or of like questions; and by its use I thinkthat I succeeded in establishing some points of importance. But in myjudgment the duty of an editor is performed when he puts the reader, asnearly as possible, in the same position, for the apprehension of hisauthor's meaning, that he would have occupied if he had beencontemporary with him and had received from him a correct copy of hiswritings. More than this seems to me to verge upon impertinence. Uponthis point I find myself supported by William Aldis Wright,[11] who isin my judgment the ablest of all the living editors of Shakespeare; whobrings to his task a union of scholarship, critical judgment, and commonsense, which is very rare in any department of literature, andparticularly in Shakespearian criticism, and whose labors in thisdepartment of letters are small and light in comparison with the graverstudies in which he is constantly engaged. He, in the preface to hislately published edition of \"King Lear\" in the Clarendon Press series,says: \"It has been objected to the editions of Shakespeare's plays inthe Clarendon Press series that the notes are too exclusively of averbal character, and that they do not deal with æsthetic, or as it iscalled, the higher criticism. So far as I have had to do with them, Ifrankly confess that æsthetic notes have been deliberately andintentionally omitted, because one main object in these editions is toinduce those for whom they are especially designed to read and studyShakespeare himself, and not to become familiar with opinions about him.Perhaps, too, it is because I cannot help experiencing a certain feelingof resentment when I read such notes, that I am unwilling to intrudeupon others what I should regard myself as impertinent. They are inreality too personal and objective, and turn the commentator into ashowman. With such sign-post criticism I have no sympathy. Nor do I wishto add to the awful amazement which must possess the soul of Shakespearewhen he knows of the manner in which his works have been tabulated, andclassified, and labelled with a purpose, after the most approved method,like modern tendenzschriften. Such criticism applied to Shakespeare isnothing less than gross anachronism.\" 59ce067264