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

VOL. II. 471. for, J. Middleton, reall, T. Middleton.

VOL. III. 18. Note 3. for Campalpe 1591, read, 1534. 452. Nute s. for, Cyril Turners All's lost by Luit, read, Rowley's Ali's lost &c.

VOL. V. 296. Note 8. for', Shirley's March &c. read, Raevley's Match Scc. 347. Note 4. for Sir . Grethan, real, Sir T. Gribam. 568. End of Note 9. for Dry.len, real, Waller.

Vol. VI. 569. For, Melancholy Lover, read, Lover's Melancholy.

Vol. VIT. 4. Note 3. As the date of the Mirrour for Magiflrates, for, 1587, read, 1575•

VOL. VIII. 142. In Note 6. for, B. and Fletcher, read only, Fletcher.

VOL. X 219. Note 9. For, Heyruood's Jew of Malta, reau, Marlowe's;


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

The fmall Head of Shakespeare (marked by mistake N. 3.) to face his will ; i. e. to front p. 196 of the Pretales.

The Fac-simile, to front the printed signature to Shakespeare'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 880. fize.

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Persons Represented *.

Alonso, king of Naples.
Sebastian, his brother.
Prospero, the rightful duke of Milan.
Anthonio, his brother, the ufurping duke of Mila
Ferdinand, son to the king of Naples.
Gonzalo, an honest old counsellor of Naples.

} lords.
Caliban, a savage and deformed slave.
Trinculo, a jester.
Stephano, a drunken butler.
Master of a ship, boatswain, and mariners.

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

Other fpirits attending on Prospero. SCENE, the fea, with a mip; afterwards an un

inhabited island.

This enumeration of persons is taken from the Folio 162 36


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A tempestuous noise of thunder and lightning heard.

Enter a Ship-master and a Boatswain ?.


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

Majl. Tempeft.] The Tempest and The Midsummer's Night's Dream, are the nobleit efforts of that sublime and amazing imagination peculiar to Shakespeare, which 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 Voyage and The Faithful Shepherdess. But when he presumes to break a lanco with Shakespeare, and write in emulation of him, as he does in The False One, which is the rival of Anthony and Cleopatra, he is not so successful. After him, fir John Suckling and Milton catched the brightest fire of their imagination from these two plays ; which mines fantastically indeed in The Goblins, but much more nobly and serenely in The Mask at Ludlow-Castle. WARBURTON.

No one has been hitherto lucky enough to discover the ro. mance on which Shakespeare may be supposed to have founded this play, the beauties of which could not secure it irom the criticism of Ben Jonson, whose malignity appears to have been more than equal to his wit. In the induction to Bartholomeua Fair, he says : “ If there be never a fervant monster in the “ fair, who can belp it, nor a nell of antiques? He is loth to “ make nature afraid in his plays, like those that beget Tales,

Tempesis, and such like drolleries.” Steevens.

Mr. Theobald tells lis, that the Tempefi must have been written after 1609, because the Bermuda itlands, which are men.


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Mt. Good : Speak to the mariners :-} fall tot yarely, or we run ourselves aground : bestir, bestir.

Exit.] Enter Mariners. Boats. Heigh, my hearts; cheerly, cheerly, my hearts ; yare, yare : Take in the top-fail; 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 thipwrecked 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 hin the pronunciation of the latter word, which is always right in the Tempeft.

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

“ My friend Stephano, signify, I pray you," &c.

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

FARMER. See a Note on The cloud-capt Torvers, &c. at 11. STEEVENS,

2 In this naval dialogue, perhaps the first example of failor's language exhibited on the itage, there are, as I have been told by a ikilful navigator, fome inaccuracies and contradictory ora ders. JOHNSON.

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

• They'll make his muse as yare as a tumbler.” Steevens. Here it is applied as a fea-term, and in other parts of the fcene. So he uses the adjective, act V. fc. v. " Our ship is “ tight and yare.” And in one of the Henries, " yare are our To this day the failors fay,

yare 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 admonition, says the chronicler,

- His gold he delde to pouere men, and made his bernes bare, 66 And his treforie al so gode, and to God hym made at gare.


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