Shelley's son succeeded to his grandfather's baronetcy on the 24th of April, 1844, and is the present Sir Percy Florence Shelley, Bart., of Castle Goring, in Sussex.
REV. H. N. HUDSON'S EDITION OF SHAKSPEARE
It has been known among his friends for several years that the Rev. Henry N. Hudson was preparing for the press an edition of the works of Shakspeare. The office of a Shakspeare restorer and commentator at this time is one of the most ambitious in the republic of letters. More than any collection of works except the Holy Scriptures—to which only they are second in dignity and importance among books—the Works of Shakspeare demand for their fit illustration not only the most varied and profound scholarship but the most eminent qualities of mind and feeling. Mr. Hudson had vindicated his capacities for the noble service upon which he has entered in his Lectures upon Shakspeare, published about three years ago. The fame he then acquired will be increased by his present performance, of which, we understand, the initial volume will in a few days be published by James Munroe & Co., of Boston, who will issue at short intervals the other ten, the last of which will embrace a Life of the Poet by the editor. Some of the main characteristics of this edition may be inferred from these paragraphs, which we are enabled to make from an early copy of the preface.
"The celebrated Chiswick edition, of which this is meant to be as near an imitation as the present state of Shaksperian literature renders desirable, was published in 1826, and has for some time been out of print. In size of volume, in type, style of execution, and adaptedness to the wants of both the scholar and the general reader, it presented a combination of advantages possessed by no other edition at the time of its appearance. The text, however, abounds in corruptions introduced by preceding editors under the name of corrections. Of the number and nature of these corruptions no adequate idea can be formed but by a close comparison, line by line, and word by word, with the original editions.
"The Chiswick edition, though perhaps the most popular that has yet been issued, has never, strange to say, been reprinted in this country. For putting forth an American edition retaining the advantages of that, without its defects, no apology, it is presumed, will be thought needful. How far those advantages are retained in the present edition, will appear upon a very slight comparison: how far those defects have been removed, we may be allowed to say that no little study and examination will be required to the forming of a right judgment. In all of the plays, the chief, and in many of them the only, basis and standard whereby to ascertain the true text, is the folio of 1623. In our preparing of copy we have this continually open before us, at the same time availing ourselves of whatsoever aid is to be drawn from earlier impressions, in case of such plays as were published during the author's life. So that, if a thorough revisal of every line, every word, every letter, and every point, with a continual reference to the original copies, be a reasonable ground of confidence, then we can confidently assure the reader that he will here find the genuine text of Shakspeare.
"The process of purification has been rendered much more laborious, and therefore much more necessary, by the mode in which it was for a long time customary to edit the poet's works. This mode is well exemplified in the case of Malone and Steevens, who, carrying on their editorial labors simultaneously, seem to have vied with each other which should most enrich his edition with textual emendations. Both of them had been very good editors, but for the unwarrantable liberty which they not only took, but gloried in taking, with the text of their author; and, even as it was, they undoubtedly rendered much valuable service. And the same work, though not always in so great a degree, has been carried on by many others: sometimes the alleged corrections of several editors have been brought together, that the various advantages of them all might be combined and presented in one. Thus corruptions of the text have accumulated, each successive editor adding his own to those of his predecessors. Many of these so-called improvements were thrown out by the editor of the Chiswick edition; but no decisive steps in the way of a return to the original text were taken till within a very limited period. Knight, Collier, Verplanck, and Halliwell, to all of whom this edition is under great obligations, have pretty effectually put a stop to the old mode of Shaksperian editing; nor is there much reason to apprehend that any one will at present venture upon a revival of it.
"Of the editions hitherto published in America, Mr. Verplanck's is the only one, so far as we know, that is at all free from the accumulated emendations of preceding editors. Adopting, in the main, the text of Mr. Collier, he brought to the work, however, his own excellent taste and judgment, wherein he as far surpasses the English editor as he necessarily falls short of him in such external advantages as the libraries, public and private, of England alone can supply. And Mr. Collier's text is indeed remarkably pure: nor, perhaps, can any other man of modern times be named, to whom Shaksperian literature is, on the whole, so largely indebted. How much he has done, need not be dwelt upon here, as the results thereof will be found scattered all through this edition. Yet it seems not a little questionable whether both he and Knight have not fallen into a serious error; though it must be confessed that such error, if it be one, is on the right side, inasmuch as their fidelity to the original text extends to the adopting, sometimes of probable, sometimes of palpable, or nearly palpable misprints. In these Mr. Verplanck has judiciously deviated from his English model, and his fine judgment appears to equal advantage in what he adopts and in what he rejects. Of his critical remarks it is enough at present to express the belief, that in this department he has no rival in this country, and will not soon be beaten. Further acknowledgments, both to him and to the other three editors named, will be duly and cheerfully made, as the occasions for them shall arise....
"In the Introductions our leading purpose is to gather up all the historical information that has yet been made accessible, concerning the times when the several plays were written and first acted, and the sources whence the plots and materials of them were taken. It will be seen that in the history of the poet's plays, the indefatigable labors of Mr. Collier and others, often resulting in important discoveries, have wrought changes amounting almost to a total revolution, since the Chiswick edition was published. And we dwell the more upon what Shakspeare seems to have taken from preceding writers, because it exhibits him, where we like most to consider him, as holding his unrivalled inventive powers subordinate to the higher principles of art. Besides, if Shakspeare be the most original of writers, he is also one of the greatest of borrowers; and as few authors have appropriated so freely from others, so none can better afford to have his obligations in this kind made known."…
THE STONES OF VENICE—RELIGION, GLORY, AND ART
Mr. John Ruskin, the "Oxford Student," whose Modern Painters and Seven Lamps of Architecture have made for him the best fame in the literature of art, has just completed the most remarkable of his works, The Stones of Venice, and from advance sheets of it (for which we are indebted to Mr. John Wiley, his American publisher), we present some of his preliminary and more general observations, indicating his great argument that the decline of the political prosperity of Venice was coincident with that of her domestic and individual religion. Popular as the previous works of Mr. Ruskin have been, we cannot doubt that this splendid performance will be the most read and most admired of all.
"Since the first dominion of men was asserted over the ocean, three thrones, of mark beyond all others, have been set upon its sands: the thrones of Tyre, Venice, and England. Of the First of these great powers only the memory remains; of the Second, the ruin; the Third, which inherits their greatness, if it forget their example, may be led through prouder eminence to less pitied destruction. The exaltation, the sin, and the punishment of Tyre have been recorded for us, in perhaps the most touching words ever uttered by the Prophets of Israel against the cities of the stranger. But we read them as a lovely song; and close our ears to the sternness of their warning: for the very depth of the Fall of Tyre has blinded us to its reality, and we forget, as we watch the bleaching of the rocks between the sunshine and the sea, that they were once 'as in Eden, the garden of God.' Her successor, like her in perfection of beauty, though less in endurance of dominion, is still left for our beholding in the final period of her decline: a ghost upon the sands of the sea, so weak—so quiet,—so bereft of all but her
