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The following Mistakes are chargeable on the Editor only, Page.

Vor., II. 471. for, 7. Middleton, read, T. Middleton.

VOL. III. 38. Note 3. for Campalpe 1591, read, 1584. 452. Note s. for, Cyril Turner's All's lost by Luft, read, Rowley's All's loft &c.

Vol. V. 296. Note 8. for, Shirley's Match &c. read, Rorvley's Match &c. 347. Note 4. for Sir J. Greihanı, read, Sir T. Greiham. 568. End of Note 9. for Dryden, read, Waller.

Vol. VI. 560. For, Melancholy Lover, read, Lover's Melancholy.

Vol. VII. 4. Note 3. As the date of the Mirrour for Magifrates, for, 1987, read, 1575.

VOL. VIII. 342. In Note 6. for, B. and Fletcher, read only, Fletcher.

VOL. X. 219. Note 9. For, Heywood's Jew of Malta, read, Marlowe's:

DIRECTIONS to the BINDER. The large Head of Shakespeare, to face the title-page to Vol. I.

The small Head of Shakepeare (marked by mistake Ato,,; to face his will ; i. e. to front p. 196 of the Prefaces.

The Fac-simile, to front the printed Gynature to Sukespeare's will ; i. e. p. 200.

The Morris-dancers, to be folded in at the end of K. Henry IV. P. I. Vol. V. and not P. II. as marked by mistake.

The two Heads, and the Fac-fimile, are to be cut down to 8vo.


T E M P E S T.



Persons Represented *

Alonso, king of Naples.
Şebastian, his brother.
Prospero, the rightful duke of Milan.
Anthonio, his brother, the usurping duke of Milan's
Ferdinand, son to the king of Naples.
Gonzalo, an honest old counsellor of Naples.


} lords.

Caliban, a savage and deformed slave.
Trinculo, a jefter.
Stepñano, à drunkeit butler.
Master of a ship, boatswain, and mariners,

Miranda, daughter to Prospero.
Ariel, an airy spirit.


Juno, spiritse

Other spirits attending on Prospero.
SCENE, the sea, with a ship; afterwards an una

inhabited island.

* This enumeration of persons is taken from the Folio 1623.



On a frip at sea.
Á tempestuous noise of thunder and lightning heard.

Enter a Ship-master and a Boatswain

Master. Boatswain,-
Boats. Here, master : What cheer?


"Tempeft.] The Tempest and The Midsummer's Night's Dream, are the nobleit efforts of that sublime and amazing imagination peculiar to Shakespeare, whieh foars above the bounds of nature without forsaking sense: or, more properly, carries nature along with him beyond her established limits. Fletcher seems particularly to have admired these two plays, and hath wrote two in imitation of them, The Sea Vovage and The Faithful Shepherdess. But when he presumes to break a lance with Shakespeare, and write in emulation of him, as he does in The False One, which is the rival of Anthony and Cleopa. tra, he is not so successful. After him, fir John Suckling and Milton catched the brightest fire of their imagination from these two plays; which shines fantastically indeed in The Goblins, but much more nobly and serenely in The Mask at Liuellow-Caftie. WARBURTON.

No one has been hitherto lucky enough to discover the romance on which Shakespeare may be supposed to have founded this play, the beauties of which could not secure it from the cri. ticism of Ben Jonson, whose malignity appears to have been more than equal to his wit. In the induction to Bartholomeus Fair, he says : " If there be never a fervant monster in the " fair, who can help it; nor a nest of antigues? He is loth to “ make nature afraid in his plays, like those that begot Tales, Tempesis, and such like drolleries." STEEVENS

Mr. Theobald tells us, that the Tempeft must have been written after 1609, because the Bermuda itlands, which are inen. B 2


Maft. Good : Speak to the mariners ;-} fall to't yarely, or we run ourselves aground : beftir, bestir.

Exit.] Enter Mariners. Boats Heigh, my hearts; cheerly, cheerly, my hearts; yare, yare : Take in the top-sail; Tend to

the tioned in it, were unknown to the English until that year; but this is a mistake. He might have seen in Hackluyt, 1600, folio, a description of Bermuda, by Henry May, who was shipwrecked there in 1593.

It was however one of our author's last works. In 1598 he played a part in the original Every Man in his Humour. Two of the characters are Prospero and Stephano, Here Ben Jonson taught him the pronunciation of the latter word, which is always right in the Tempest.

“ Is not this Stephano, my drunken butler?” And always curong in his earlier play, the Merchant of Venice, which had been on the stage at least two or three years before its publication in 1600.

• My friend Stephano, fignify, I pray you,” &c.

Soʻlittle did a late editor know of his author, when he idly supposed his school literature might perhaps have been lost by the dilipation of youth, or the buly scenes of publick life!

DE FARMER. See a Note on The cloud-capt Towers, &e, act #1. STEEVENS,

2 In this naval dialogue, perhaps the first example of failor's language exhibited on the stage, there are, as I have been told by a skilful navigator, some inaccuracies and contradictory orders. JOHNSON.

3 --fall to't yarely, — ] i. e. Readily, nimbly. Our author is frequent in his use of this word. So in Decker's Satiromastix.

of They'll make his muse as jare as a tumbler." STEEVENS. Here it is applied as a fea-term, and in other parts of the scene. So he uses the adjective, act V. sc. v. “Our thip is “ tight and yare.And in one of the Henries, " yare are our “ nips.” To this day the sailors say, “ fit yare to the helm.” Again in Anton, and Cleop. II. iii. “ The tackles rarely frame the office.” It occurs in its general acceptation, in Robert of Gloiter's Chronicle; where Edward the Confeffor receives from two pilgrims the notice of his approaching death, edit. Hearne, vol. I. p. 348. In consequence of this unexpected ad, monition, says the chronicler,

“ His gold he delde to pouere men, and made his bernes bare, " And his tresorie al so gode, and to God hym made at gare.


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