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I have done nothing but in care of thee,
(Of thee, my dear one! thee, my daughter !) who
Art ignorant of what thou art, nought knowing
Of whence I am ; nor that I am more better
Than Prospero, master of a full poor cell ',
And thy no greater father.

Mira. More to kulow
Did never meddle' with my thoughts.

Pro. "Tis time,
I should inform thee further. Lend thy hand,
And pluck my magick garment from me.—So;

[Lays down his mantle, Lyc there my art.-Wipe thou thine eyes; have com

fort. The direful spectacle of the wrock, which touch'd The very virtue of compassion in thee, Miranda, when the speaks the words, 0, woe the day! supposes

, not that the crew had escaped, but that her father thought differently from her, and counted their destruction no harm,

JOHNSON. -more better..] This ungrammatical exprefion is very frequent among our oldeit writers. So in the Hiftory of Helvas Knight of the Swan. bl. L. no date : imprinted by William Copland. And also the more froner to come, without prolixity, to the true Chronicles, &c.” Again in the True Tragedies on Marins and Scilla. 1594.

“ To wait a meliage of more better worth." Again, ibid

That hale more greater than Cassandra now." STEEVENS. - full poor cell, i e. a cell in a great degree of poveray. So in Antony and Cleopatra, act I, sc.1,-- I am full sorry.

Steevens. Did netver meddle quith my thoughts.] To meddli, in this uvítance, seems to fignity to mingie. Hence the substantive medlry. To meldle for to mix is used at least twenty times in she ancient Book of Hawking, &c. commonly called the Book of St. Alban's, and yet more often by Cbaucer. 'STEEVINS.

* 1 ye there my art.] Sir W. Cecil, lord Burleigh, lord high treasurer, &c. in the reign of queen Elizabeth, when he put off his gown at night, used to say, Lic there, lord treasurer. See Peck's Defiderata Curinfa. STEEVENS.

virtue of compafion] Virtue; the most efficacious part, the energetic quality; in a like fenfe we fay, The virtue of & plant is in the extrait. JOHNSON.


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daughter's rught know more by

oor cell

I have with such provision in mine art
So safely order'd, 4 that there is no soul-
No, not so much perdition as an hair,
Betid to any creature in the vessel
Which thou heard'At cry, which thou saw'st sink. Sir

For thou must now know further,

Mira. You have often
Begun to tell me what I ain; but stopp'd,
And left me to a bootless inquisition ;
Concluding, Stay', not yet.-

Pro. The hour's now come;
The very minute bids thee ope thine ear;
Obey, and be attentive. Canst thou remember
A time before we came unto this cell?
I do not think, thou canst; for then thou wast not
5 Out three years old.

Mira. Certainly, sir, I can.
Pro. By what? by any other house, or person?

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-that there is no foul-] Thus the old editions read, but this is apparently defective. Mr. Rowe, and after him Dr. Warburton, read that there is no foul loft, without any notice of the variation. Mr. Theobald substitutes 10 foil, and Mr. Pope follows him. To come fo near the right, and yet to miss it, is unlucky: the author probably wrote no foil, no stain, no spot : for lo Ariel tells,

Not a hair perill'd;
On their fustaining garments not a blemish,

But freiber than before.
And Gonzalo, The rarity of it is, that our garments being drench'd
in the sea, keep notwithstanding their freshnefs and glosses. Of this
emendation I find that the author of notes on The Tempeft had a
glimpse, but could not keep it. JOHNSON.

-no foul---) Such interruptions are not uncommon to Shakespeare. He fometimes begins 'a sentence, and before he concludes it, entirely changes the construction, because another, more forcible, occurs. As this change frequently happens in conversation, it may be suffered to pass uncensured in the lana guage of the stage.' STEVENS.

s out three years old.] i.e. Quite three years old, three years pid full-out, complete. Mr. Pope, without occafion, reads, FULL three years old. STEEVENS.


Of any thing the image tell me, that
Hath kept with thy remembrance,

Mira. 'Tis far off ;
And rather like a dream, than an afsurance
That my remembrance warrants : Had I not
Four or five women once, that tended me?
Pro. Thou hadst, and more, Miranda : But how

is it, That this lives in thy mind? What feest thou else In the dark back-ward and abysm of time? If thou remember'st aught, ere thou cam't here; How thou cam'ft here, thou may'st.

Mixa. But that I do not.

Pro. Twelve years fince, Miranda, twelve years fince, Thy father was the duke of Milan, and A prince of power.

Mira. Sir, are not you my father?

Pro. Thy mother was a piece of virtue, and
She said thou wast my daughter; and thy father
Was duke of Milan ; ? thou his only heir
And princess, no worse illu’d,

Alira. O the heavens!
What foul pl.y had we, that we came from thence ?
Or blessed was't, we did ?

Pin. Both, both, my girl : Ey foul play, as thou say’ít, were we heav'd thence ; But bletiedly holp hither.

6 --aby/nt of time.]

This method of spelling the word, is common to other ancient writers. They took it from the French aby/me, now written So in Heywood's Brazen Age, 1613.

“ And chase him from the deep abysms below. STEEVENS: 7 Perhaps--and thou his only beir. Johnson. The old copy reads and his only heir

and princess Perhaps we should read, -and his only heir

A princess: no worfe ilued. Ilsued is descended. So in Greene's Card of Fancy, 1608. * For I am by birth a gentleman, and illued of such parents, &c. STEEVENS,


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Mira. O, my heart bleeds
To think oʻthe 8 teen that I have turn'd you to,
Which is from my remembrance ! Please you, further.

Pro. My brother, and thy uncle, calied Anthonio,
I pray thee, mark me,-that a brother should
Be so perfidious !-he whom, next thyselfg-
Of all the world I lov'd, and to him put
The manage of my state; as, at that time,
Through all the signiories it was the first,
And Prospero the prime duke; being so reputed
In dignity, and, for the liberal arts,
Without a parallel; those being all my study,
The government I caft upon my brother,
And to my state grew stranger, being transported,
And wrapp'd in secret tłudies. 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 orer-topping; new created
The creatures that were mine; I say, or chang'd 'em,
Or else new form’d 'em: having both the key

Of 8-teen..] Is forrow, gricf, trouble. So in Romeo and Juliet:

to my teen be it spoken." STEEvens. 9 To trash for over-topping ;] To tras), as Dr. Harburton ohferves, is to cut away the superfluities. This word I have met with in books containing directions for gardeners, published in the time of queen Elizabeth.

The present explanation may be countenanced by the following paffage in Warner's Albions England, 1602. b. x. ch. 57.

" Who suffreth none by night, by wealth or blood to overtopp,

“ Himseli gives all preterinent, and whom liúeth him, doth lop."
Again in our author's K. Richard II:

Go thou, and like an executioner,
Cut off the heads of too-fast-growing sprays .

That look too lofty in our commonwealth.
Mr. Warton's mote, however, on trah for his quick
hunting," in the second act of Othello, leaves my interpretation
of this passage exceedingly disputable. STEEVENS.

roboth the kry ) Key in this place seems to fignify the key of
a musical instrument, by which he fet llearts to tune. JOHNSON,


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Of officer and office, set all hearts i' the state
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'ft not

Mira: O good Sir, I do.

Pro. I pray thee, mark me. I thus neglecting worldly ends, all dedicated To closeness, and the bettering of my mind With that, which, but by being so retir’d, 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 A falfhood, 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 elle exact, – like one,

Who This doubtless is meant of a key for tuning the harpsichord, spinnet, or virginal; we call it now a tuning hammer, as it is used as well to itrike down the iron pins whereon the Atrings are wound, as to turn them. As a key it acts like that of a watch. Sir J. HAWKINS.

2. Like a good, &c.] Alluding to the observation, that a father above the common rate of men has commonly a son below it. Heroum filii noxæ. JOHNSON.

like one,

Who having, INTO truth, by telling of it,

Made fuch a finner of his memory, To credit his own lie, -] The corrupted reading of the fecond line has rendered this beautiful fimilitude quite unintelligible. For what is [having into truth?] or what doth [it] refer to ? not to [iruth,] because if he told truth he could never credit a lie. And yet there is no other correlative to which [it] can belong. I read and point it thus :

Who having, unto truth, by telling OFT,
Made fuch a finner of bis memory,

To credit his own lie,i.e. by often repeating the same story, made his inemory such a finner unto truth, as to give credit to his own lie. A miserable delusion, to which story-tellers are frequently subject. The

like one

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