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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 Turner's Ali's lolt by Luit, resd, Rowley's Ali's lost &c.

VOL. V. 296. Note 8. for, Shirley's March &c. read, Ro-vley's Match Sc. 347. Note 4. for Sir . Grelham, real, Sir T. Greilam. 568. End of Note 9. for Dry.len, read, Waller.

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

Vol. VII. 4. Note 3. As the date of the Mirrour for Masilrales, for, 1587,

read, 1575

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

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


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

The small Head of Shakespeare (marked by nviitake No. 3.) to face his will; i. e. to front p. 196 or the Pretuces.

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 Ķ. 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 8r0. fize.

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Persons Represented *.

} lords.

Alonso, king of Naples.
Sebastian, his brother.
Prospero, the rightful duke of Milan.
Anthonio, his brother, the ufurping duke of Milenio
Ferdinand, son to the king of Naples.
Gonzalo, an honest old counsellor of Naples.
Caliban, a favage and deformed save.
Trinculo, a jester.
Stephano, a drunken butler.
Master of a ship, boatswain, and mariners.
Miranda, daughter to Prospero.
Ariel, an airy spirit.


Other fpirits attending on Prospero.

SCENE, the sea, with a ship; afterwards an une

inhabited island.

* This enumeration of persons is taken from the Folio 162 3.


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A tempestrous noise of thunder and lightning heard. ?

Enter a Ship-master and a Boatswain”.


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

Maji. Tempeft.] The Tempest and The Midsummer's Night's Dream, are the noblett 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 lance with Shakespeare, and write in cmulation of him, as he does in The False One, which is the rival of Anthony and Cleopatra, he is not fo fuccessful. 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 Mok at Ludlow-Lafile. WARBURTON.

No one has been hitherto lucky enough to discover the romance on which Shakespeare may be fupposed to have founded this play, the beauties of which could not secure it from the criticism of Ben Jonson, whose malignity appears to have been more than equal to his wit. In the induction to Bartholomera Fair, he says: “ If there be never a fervant monster in the “ fair, who can help it, nor a nest 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 us, that the Tempest must have been written after 1609, because the Bermuda itlands, which are men. B 2


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

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 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 Ilumnour. 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 butlers" And always wrong in his earlier play, the Merchant of Venice, which had been on the Itage at least two or three years before its publication in 1600.

My friend Stephano, fignify, I pray you," &c.

So little 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 only renes of publick lite !

FARMER. See a Note on The cloud-capt Torvers, &c. aet II]. STEEVENS,

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

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

They'll make his muse as yare as a tumbler.” Steevers. Here it is applied as a lea-term, and in other parts of the fcene. So he uses the adjective, act V. fc. v. “Our fhip is “ tight and yare." And in one of the Henries, " yare are our “ fhips.” To this day the sailors say, “ fit yare to the helm." Again in Anton. and Cleop. II. ii. “ The tackles rarely frame the office." It occurs in its general acceptation, in Robert of Gloiter's Chronicle; where Edward the Confeffor receires from two pilgrims the notice of his approaching death, edit. Hearne, vol. 1. p. 348. In consequence of this unexpected admonition, says the chronicler,

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


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