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And to my state grew stranger, being transported, And rapt in secret studies. Thy false uncle— Dost thou attend me?

Mira. Sir, most heedfully.

Pro. Being once perfected how to grant suits, How to deny them; whom to advance, and whom To trash for over-topping;" new created The creatures that were mine; I say, or chang'd

them, Or else new form'd them; having both the key” Of officer and office, set all hearts To what tune pleas'd his ear; that now he was The ivy, which had hid my princely trunk, And suck'd my verdure out on't.—Thou attend'st not :

I pray thee, mark me."

Mira. O good sir, I do.

Pro. I thus neglecting worldly ends, all dedicate To closeness, and the bettering of my mind With that, which, but by being so retired, O'er-priz'd all popular rate, in my false brother Awak'd an evil nature: and my trust,

Like a good parent,” did beget of him

* To trash for over-topping;] To trash, in old books of gardening, is to cut away the superfluities. It is used, also, by sportsmen in the North, when they correct a dog for misbehaviour in pursuing the game. A trash, among hunters, denotes a piece of leather, couples, or any other weight fastened round the neck of a dog, when his speed is superior to the rest of the pack; i.e. when he over-tops them, when he hunts too quick.

See Othello, Act. II. sc. i.

9 both the key—J . This is meant of a key for tuning the harpsichord, spinnet, or virginal; called now a tuning hammer.

* I pray thee, mark me..] In the old copy, these words are the beginning of Prospero’s next speech; but, for the restoration of metre, I have changed their place. STEEvens.

* Like a good parent, &c.] Alluding to the observation, that a father above the common rate of men has commonly a son below it. Heroum filii nota. Johnson.

A falsehood, in its contrary as great
As my trust was ; which had, indeed, no limit,
A confidence sans bound. He being thus lorded,
Not only with what my revenue yielded,
But what my power might else exact, like one,
Who having, unto truth, by telling of it,
Made such a sinner of his memory,
To credit his own lie,”—he did believe
He was the duke; out of the substitution,”
And executing the outward face of royalty,
With all prerogative:–Hence his ambition
Growing, Dost hear?

Mira. Your tale, sir, would cure deafness,

Pro. To have no screen between this part he


And him he play'd it for, he needs will be
Absolute Milan: Me, poor man!—my library
Was dukedom large enough; of temporal royalties
He thinks me now incapable: confederates
(So dry he was for sway') with the king of Naples,
To give him annual tribute, do him homage;
Subject his coronet to his crown, and bend
The dukedom, yet unbow'd, (alas, poor Milan')
To most ignoble stooping.

Mira. O the heavens !

Pro. Mark his condition, and the event; then

tell me,

If this might be a brother.

like one, Who having, unto truth, by telling of it, Made such a sinner of his memory, To credit his own lie, J There is, perhaps, no correlative, to which the word it can with grammatical propriety belong. Lie, however, seems, to have been the correlative to which the poet meant to refer, however ungrammatically. * He was the duke; out of the substitution,] The reader should place his emphasis on—was. SteeveNs.

* (So dry he was for sway)] i. e. So thirsty.

Mira. I should sin To think but nobly" of my grandmother: Good wombs have borne bad sons.

Pro. Now the condition. This king of Naples, being an enemy To me inveterate, hearkens my brother's suit; Which was, that he in lieu o' the premises, 7 Of homage, and I know not how much tribute,_ Should presently extirpate me and mine Out of the dukedom; and confer fair Milan, With all the honours, on my brother: Whereon, A treacherous army levied, one midnight Fated to the purpose, did Antonio open The gates of Milan; and, i' the dead of darkness, The ministers for the purpose hurried thence Me, and thy crying self.

Mira. Alack, for pity! I, not remembring how I cry'd out then, Will cry it o'er again : it is a hint,” That wrings mine eyes.” Pro. Hear a little further, And then I'll bring thee to the present business Which now's upon us; without the which, this


Were most impertinent.

Mira. Wherefore did they not That hour destroy us?

Pro. Well demanded, wench ; My tale provokes that question. Dear, they durst


(So dear the love my people bore me) nor set
A mark so bloody on the business; but

* To think but nobly—l But, i. e. in this place otherwise than. in lieu o' the premises, &c.] In lieu of, means here, in consideration of; an unusual acceptation of the word. 8 a hint, Hint is suggestion. * That wrings mine eyes...} i.e. squeezes the water out of them.

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With colours fairer painted their foul ends.
In few, they hurried us aboard a bark;
Bore us some leagues to sea; where they prepared
A rotten carcase of a boat, not rigg’d,
Nor tackle, sail, nor mast; the very rats
Instinctively had quit it: there they hoist us,
To cry to the sea that roar'd to us; to sigh
To the winds, whose pity, sighing back again,
Did us but loving wrong.

Mira. Alack what trouble
Was I then to you!
Pro. O! a cherubim

Thou wast, that did preserve me! Thou didst smile,
Infused with a fortitude from heaven,
When I have deck'd the sea' with drops full salt;
Under my burden groan'd; which rais'd in me
An undergoing stomach,” to bear up
Against what should ensue.

Mira. How came we ashore?

Pro. By Providence divine.
Some food we had, and some fresh water, that
A noble Neapolitan, Gonzalo,
Out of his charity (who being then appointed
Master of this design.) did give us;* with

* — deck'd the sea—j To deck the sea, if explained to honour, adorn, or dignify, is indeed ridiculous, but the original import of the verb deck, is to cover; so, in some parts, they yet say deck the table. This sense may be borne, but perhaps the poet wrote fleck'd, which I think is still used in rustic language of drops falling upon water. Dr. Warburton reads mock’d ; the Oxford edition brack'd. Joh Nso N. To deck signifies in the North to sprinkle; and degg'd, which means the same, is in daily use in the North of England. When clothes that have been washed are too much dried, it is necessary to moisten them before they can be ironed, which is always done by sprinkling; this operation the maidens universally call dogging. * An undergoing stomach, Stomach is stubborn resolution. * Some food we had, and some fresh watcr; that A noble Neapolitan, Gonzalo,

Rich garments, linens, stuffs, and necessaries,
Which since have steaded much; so, of his gentle-
ness, -
Knowing I lov'd my books, he furnish'd me,
From my own library, with volumes that
I prize above my dukedom.

Mira. 'Would I might
But ever see that man'
Pro. Now I arise:—“

Sit still, and hear the last of our sea-sorrow.
Here in this island we arrived; and here
Have I, thy school-master, made thee more profit
Than other princes can, that have more time
For vainer hours, and tutors not so careful.
Mira. Heavens thank you for't! And now, I

pray you, sir,

Out of his charity, (who being then appointed . Master of this design, ) did give us ;..] Mr. Steevens has suggested, that we might better read—he being then appointed; and so we should certainly now write: but the reading of the old copy is the true one, i. mode of phraseology being the idiom of Shakspeare's time. MA LoNE. I have left the passage in question as I found it, though with slender reliance on its integrity. What Mr. Malone has styled “the idiom of Shakspeare's time,” can scarce deserve so creditable a distinction. The genuine idiom of our language, at its different periods, can only be ascertained by reference to . writers whose works were skilfully revised as they passed through the press, and are therefore unsuspected of corruption. A sufficient number of such books are before us. If they supply examples of phraseology resembling that which Mr. Malone would establish, there is an end of controversy between us. STEEvess. * Now I arise :] Perhaps these words belong to Miranda, and we should read: Mir. 'Would I might But ever see that man s—Now I arise. Pro. Sit still, and hear the last of our sea-sorrow. As the words—“now I arise"—may signify, “now I rise in *. narration,”—“now my story heightens in its consequence,” I have left the passage in question undisturbed. We still say, that the interest of a drama rises or declines. STEEVENS.

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