SOME NEW EMENDATIONS IN SHAKESPEARE. 389 
is in truth a corollary of the proposition, which is I think unques- 
tionable, ‘‘ That nothing which is obscure is Shakespeare.” 
As to the third, it is only another way of stating that Shake- 
speare was such a master of rhythm, his musical ear was so correct,. 
that he could not write any thing which was harsh or unmusical. 
When, therefore, we are startled by any line which lacks the 
usual melody and rhythmical flow of Shakespeare, we cannot but 
regard it with grave suspicion, and if we hesitate to pronounce it as 
ipso facto corrupt, we must at least place it in the category of those 
which are soupconnes d’étre suspects. 
But besides the obscure and unmusical lines there are no doubt 
many others which are corrupt. The accomplished editors of the 
Cambridge Shakespeare truly remark : “ There are many passages, 
easily construed and scanned, and therefore not generally suspected 
of corruption, which nevertheless have not been printed exactly as 
they were written. Some ruder hand has effaced the touch of the 
master.” Some of these unsuspected corruptions have been dealt 
with in this paper. 
When I consider the scholarship and learning expended during 
the last quarter of a century, both in Europe and America, upon the 
works of Shakespeare, the volumes which have been written on his 
genius, mind, art and influence, the subtle - sometimes perhaps too 
subtle—analysis to which the principal plays and characters have 
been subjected, to say nothing of the recent contribution to Shakes- 
pearean literature in connection with what has been well called the 
Bacon-Shakespeare craze, I cannot but be sensible of the compara- 
tively humble field of enquiry to which my Shakespearean labours 
have been directed. Indeed, I feel that to speak of what I have 
done as “labour” at all may be to give to it a dignity to which it 
has no claim. But if it may be so designated, it has assuredly been 
a labour of love, where the labour was its own reward. If I could 
hope by my suggestions to remove even one or two of the blem- 
ishes or obscurities which mar and disfigure the bright page of 
Shakespeare, I shall have the further satisfaction of feeling that I 
have done something to mark, however feebly, my gratitude for the 
infinite enjoyment and instruction which I have derived from his: 
plays. 
