Nay, so strictly have I strove
to give the true Reading, tho' sometimes not to the Advantage of my
Author, that I have been ridiculously ridicul'd for it by Those, who
either were iniquitously for turning every thing to my Disadvantage;
or else were totally ignorant of the true Duty of an Editor.
The Science of Criticism, as far as it affects an Editor, seems
to be reduced to these three Classes; the Emendation of corrupt
Passages; the Explanation of obscure and difficult ones; and an
Inquiry into the Beauties and Defects of Composition. This Work is
principally confin'd to the two former Parts: tho' there are some
Specimens interspers'd of the latter Kind, as several of the
Emendations were best supported, and several of the Difficulties
best explain'd, by taking notice of the Beauties and Defects of
the Composition peculiar to this Immortal Poet. But This was but
occasional, and for the sake only of perfecting the two other Parts,
which were the proper Objects of the Editor's Labour. The third lies
open for every willing Undertaker: and I shall be pleas'd to see it
the Employment of a masterly Pen.
It must necessarily happen, as I have formerly observ'd, that where
the Assistance of Manuscripts is wanting to set an Author's Meaning
right, and rescue him from those Errors which have been transmitted
down thro' a Series of incorrect Editions, and a long Intervention
of Time, many Passages must be desperate, and past a Cure; and
their true Sense irretrievable either to Care or the Sagacity of
Conjecture.
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