"Within that circle none durft walk but he." But furely we mult lament, that thofe extraordinary powers which have been fo fuccefsfully exerted in the illuftration of Shakefpear, and fometimes prostituted to the fupport of the meanest writers, fhould not more frequently have been employed to throw a light on Beaumont and Fletcher.-Thefe illuftrious followers of the glorious father of our drama, ought not furely to be caft so far behind him, as to fall into a contemptuous neglect, whilst the most careless works of Shakespear are ftudiously brought forward. The Maid's Tragedy, King and no King, Love's Pilgrimage, Monfieur Thomas, &c. &c. &c. would hardly difgrace that stage which hath exhibited The two Gentlemen of Verona.' With refpect to the various editions of Beaumont and Fletcher, our ingenious Prefacer obferves, that the old copies of their dramatic works have come down to us exactly in the fame state with the old quarto's of Shakespear. The printers of those times not only copied, but mutilated the errors of tranfcribers. An editor, nay even a corrector of the prefs, feems to have been a character of which they had not the fmalleft conception. Even the title-pages appear to exhibit the very names of the authors at random: fometimes announcing the play as the work of one poet, fometimes of another, and fometimes as the joint production of both. A bookfeller is fomewhere introduced as reprehending the faving ways of an Ode Writer, who, he fuppofed, merely to lengthen his work, would often put no more than three or four words into a line. The old printers feem to have conceived the fame idea of the parfimony of poets, and therefore often without fcruple run verfe into profe, not adverting to measure or harmony, but folely governed by the dimenfions of the page, whether divided into columns or carried all across from one fcanty margin to another. Their orthography is fo generally vicious and unfettled, and their punctuation fo totally defective, that the regulation of either rarely merits the triumphs that have been fo often derived from it. On the whole, however, thefe old copies of our Poets may by an intelligent Reader be perused with fatisfaction. The typographical errors are indeed grofs and numerous; but their very number and groffnefs keeps the Reader awake to the genuine text, and commonly renders fuch palpable inaccuracies not prejudicial. The genuine work of the Author is there extant, though the lines are often, like a confused multitude, huddled on one another, and not marshalled and arrayed by the difcipline of a modern editor. The first folio, containing thirty-four of our Authors pieces, never till then collected or printed, was published by the players, obviously transcribed from the prompter's books, commonly the moft inaccurate and barbarous of all manufcripts, or made out piecemeal from the detached parts copied for the use of the performers. Hence it happens, that the stage direction has fometimes crept into the text, and the name of the actor is now and then fubftituted for that of the character. The tranfcribers, knowing perhaps no language perfectly, corrupted all languages, and vitiated the dialogue with falfe Latin, falfe French, false Italian, and falfe Spanish; nay, Ee 4 as as Pope fays of the old copies of Shakespear, “ their very Welch is falfe." The fecond folio contained the first complete collection of the Works of Beaumont and Fletcher. Concerning that edition we have nothing to add to what hath been faid by other editors, whofe prefaces we have annexed to our own. The Octavo editors of 1711 feemed to aim at little more than reprinting our Author's plays, and giving a collection of them more portable and convenient than the folios. Their text, however, is more corrupt than that of either the quartos or folios; the errors of which they religiously preferved, adding many vicious readings of their own, fome of which have been combated in very long notes by their fucceffors. In the year 1742, Theobald, on the fuccefs and reputation of his Shakespear, projected an edition of Ben Jonfon. What he had executed of it fell into the hands of Mr. Whalley, and is inferted in that learned and ingenious gentleman's edition. At the fame time he exhibited propofals for a publication of the plays of Beaumont and Fletcher, in which he was afterwards affifted by Mr. Seward and Mr. Sympfon: but Theobald dying before he had committed more than the first and about half the fecond volume to the press, the undertaking was continued by the two laft mentioned gentlemen; and the edition thus jointly, or rather feverally, executed by Theobald, Seward and Sympfon, at length appeared in the year 1750. Thefe gentlemen were the firft editors of our poets who profeffed to collate the old copies, to reform the punctuation, and to amend the corrup tions of the text. Some attempts were also made to elucidate the obfcurities and enforce the excellencies of their authors. How far we difagree or coincide with them, will appear on inspection of the particular paffages to which their feveral obfervations refer. Such of their notes as appeared inconteftible, or even plaufible, we have adopted without remark: to thofe more dubious we have fubjoined additional annotations, thofe of lefs confequence we have abridged, and thofe of no importance we have omitted. In the prefent edition, it hath been our chief aim to give the old text as it lies in the old books, with no other variations, but fuch as the writers themselves, had they fuperintended an impreffion of their works, or even a corrector of the prefs, would have made. Yet even thefe variations, if at all important, have not been made in filence. Notes, however, have been fubjoined to the text as briefly and fparingly as poffible; but the lapfe of time, the fluctuation of language, have rendered fome notes neceffary for the purpofe of explaining obfolete words, unufual phrafes, old cuftoms, and obfcure or diftant allufions. Critical remarks and conjectural emendations have been feldom bazarded, nor has any ridicule been wantonly thrown on former editors, who have only fometimes been reprehended for pompous affectation, and more frequently for want of care and fidelity. Every material comment on these plays hath been retained in Of which Mr. Seward is often guilty to a degree that must naufeate and difguit every Reader of taste and judgment. this edition, though often without the long and oftentatious notes that firft introduced thofe comments to the Public. At the fame time, we have religiously attributed every obfervation critical or philological to its due Author, not wishing to claim any praise as Editors, but by induftriously endeavouring, as an act of duty, to collect from all quarters every thing that might contribute to illuftrate the Works of Beaumont and Fletcher.' The Editors of thefe Works have, we think, discharged their duty with great fidelity and exactnefs in the volumes now before us. The old Bards never appeared to fo great an advantage, nor were they ever introduced to the Public in fo elegant a drefs. The cuts, which are happily designed and well executed, will undoubtedly be deemed a very agreeable addition to the work; and to ufe the words of the Editors, we may with truth affert, that no authors in the English language, published at the fame price, have fo many and so valuable engravings.' ART. II. Four Sermons on the Divinity of Chrift. By the late Rev. James Hervey, A M. Rector of Wetton Favell and Collingtree, in the County of Northampton, and Author of Meditations, &c. To which are added, Four other Sermons, faithfully transcribed from the original Short-hand of the Author. Small 8vo. Is. 6d. Printed for the Editor, and fold by Keith, &c. 1779. T HE Preface informs us, that these Sermons were transcribed from the fhort-hand MS. of the Rev. Mr. J. Hervey, by the defire of his brother, the late Mr. William Hervey, Wine-merchant in London. That they are the genuine productions of the Author of the Meditations among the Tombs, and the Contemplations, Dialogues, and Letters, no man of fenfe and tafte (when he hath read them) can poffibly doubt." We think these pofthumous Sermons little calculated to make their way to the clofets of men of fenfe and tafte-who, after all, would think it a point of the utmoft infignificance whether they were the genuine productions of Mr. Hervey or the impofition of fome catchpenny editor. From ftrong internal evidence, however, we are led to give fome credit to the declaration of the Prefacer. Thefe Sermons abound with many of the peculiarities of Mr. Hervey's ftile and fentiment. A profufion of metaphors was the chief characteristic of his language; and the Shibboleth of Puritanifm was the capital diftinction of his theology. His object was to foften the harth features of a Calvinistic creed, by mixing it with the gay and fplendid colours of eloquence. This he effected in a very high degree among perfons who were no great critics, nor profound judges of fenfe and eloquence. The middle clafs of readers, who had a fufficient fhare of understanding to revolt at naked abfurdities, were not proof againft them when decked out in a fpecious attire. The fancy was charmed: and reason was not strong enough to break the delufion. Thefe difcourfes are introduced to the world by a preface from an anonymous writer, who hath thrown together a heap of fulfome declamatory nonfenfe on the excellence, importance, and comfort, of the doctrine of Chrift's divinity. The fermons which fucceed it on the fame fubject are pretty much in the same diffufe, unmeaning, illogical ftrain. They have not the flightest pretenfion to argument, and they will rather weaken than confirm the cause they profefs to fupport. They are full of difmal interjections, or impertinent interrogations and their chief ftrength is concentred in a plaintive ah ! or an emphatic oh! One argument (if it may be fo called) on which the Preacher lays ftrefs, in proving the doctrine of Chrift's divinity, is drawn from his knowledge of the human heart. This point he illuftrates by a remarkable inftance from the Evangelifts. Did not a look from our Lord's eye renew the heart of Zaccheus. The holy fcriptures reprefent him as an oppreffor and extortioner: one who made it his bufinefs to grind the faces of the poor, and raife himself a fortune by all manner of unjuft practices. One would almost defpair of recalling fo egregious a finner :—a finner that was hardened in villany, and a veteran in iniquity. But, behold!-a glance from Chrift's eye converts him! He climbed the tree a finner! and came down the tree a new creature!' In the farther illuftration of the fubject, the Preacher defcants on the figns and wonders which attended the crucifixion of our Saviour, and then gives the Arians a home-thruft by the fharp two-edged fword of interrogation and interjection. The fun withdraws at the horror' of his agonies, and leaves the astonished world in darkness! And is not this the great God! Did ever the whole face of nature go into mourning for any but its Creator? The centurion, before an infidel, now becomes a believer! He is now convinced of the divinity of the BLESSED JESUS thefe aftonishing, unheard-of events overcome his prejudices.'-Oh! Prieftley, art thou yet, in the pride of reason, hardened against orthodoxy? Can fuch things be Without our special wonder? To give a death-wound to Socinianifm, the Preacher assures us in the moft peremptory language of abfolute certainty (p. 35.), that the fatisfaction of Chrift must be more than infinite, fince it made us ample reparation to the Uncreated Holiness as if the whole race of finners had been eternally deftroyed.' Some of the duller clafs of our Readers may be unable to comprehend the the force and extent of this argument: and others, whofe heads run on nothing but mathematics, may laugh at it as a palpable abfurdity. But there is a profound meaning in it, whether it be perceived or not. We will draw it out of its deep and dark abyfs, and prefent it to our Readers in open day-light, in all the drefs of mood and figure; viz. As fin is in itfelf an infinite evil, it could not be atoned for by a fatisfaction that was barely infinite, fince in that cafe the matter would only have been upon an even poife. But the fatisfaction of Chrift did actually atone for the infinite evil of fin. THEREFORE, the fatisfaction of Christ must have been more than infinite. Q. E. D.! In a fermon on the duty of reading the fcriptures, the Preacher hath almoft exhaufted the very fountain of invention for fimilies, metaphors, and all poffible figures of speech, to difplay the excellence of the word of God. O bleffed book! (fays he) our better, our fpiritual fun, that sheddeft thy bright beams upon our fouls, and furnishest us with the light of life! Thou fovereign antidote against the deJufions of the devil, the treachery of our fallen nature, and the darkness of the world! Thou guide to lead us fafely from the mazes of this miferable life unto our heavenly and everlasting reft. No wonder that David counted his kingdom as nothing, and called thee his heritage and portion for ever. 'Tis rather to be wondered at, that all mankind do not prize thee as their richeft jewel; converse with thee as their sweetest companion, and talk of thee as the dearest object of their love all the day long. What a rapid fucceffion of metaphors! So quick and fuddenly do they follow, that (as Shakespear fays) they gall each other's heels! The bleffed book is a fun, and the next inftant this fun is converted into an antidote :-but indeed it is an antidote against darkness. From hence it takes the fhape of a guide, and from a guide it is transformed into a heritage. heritage becomes a jewel, and the jewel (by a process as extraordinary as that which the teeth of Cadmus underwent) ends in a companion, to whom one might be making love all day long! The But the Preacher hath not half done with his fubject: for as Martinus Scriblerus hath long fince obferved of Sir Richard Blackmore (Vid. Isp. Babes, cap. v.), There is nothing fo great which a marvellous genius, prompted by the laudable zeal of finking, is not able to leffen! Hear how the moft fublime of all books is reprefented in the following images.' First, it is likened to a TRUMPET. • When our hands have hung down, and our knees grown feeble in our holy warfare, hath not a chapter, and fometimes a fingle verfe called up our courage as a trumpet, and inspired the foldier of Chrift with new recruited vigour Now |