“Capell . . . numbered each hair on his pate,”—Edward Capell (see p. [107]), of whom Dr. Johnson remarked that his abilities “were just sufficient to enable him to select the black hairs from the white for the use of periwig makers.” He gave most of his attention to the production of an accurate text, based on a careful collation of the old copies, and he did his work very thoroughly.
“From Gopsall . . . a formal old goose,”—Charles Jennens (1700-1773), who printed some of Shakespeare’s tragedies, and brought upon himself the unmerciful ridicule of George Steevens. He lived at Gopsall in Leicestershire.
“Warner,”—Richard Warner (1713?-1775), the botanist and classical scholar. He made extensive collections for an edition and for a glossary of Shakespeare. Neither was published.
“Hawkins,”—Sir John Hawkins (1719-1789), who published The General History of the Science and Practice of Music, 1776.
“Warton and Collins,”—Joseph Warton (1722-1800) and William Collins (1721-1759) were school-fellows at Winchester, and life-long friends.
“Percy,”—Bishop Percy of Percy’s Reliques.
“Farmer,”—Richard Farmer (1735-1797), author of the Essay on the Learning of Shakespeare, 1767.
HORACE WALPOLE, EARL OF ORFORD, 1788
(1717-1797)
My histrionic acquaintance spreads. I supped at Lady Dorothy Hotham’s with Mrs. Siddons, have visited and been visited by her, and have seen and liked her much, yes, very much, in the passionate scenes in “Percy”; but I do not admire her in cool declamation, and find her voice very hollow and defective. I asked her in which part she would most wish me to see her? She named Portia in the “Merchant of Venice”; but I begged to be excused. With all my enthusiasm for Shakespeare, it is one of his plays that I like the least. The story of the caskets is silly, and, except the character of Shylock, I see nothing beyond the attainment of a mortal; Euripides, or Racine, or Voltaire might have written all the rest.