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452. Note

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

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

VOL. III. 18. Note 3. for Campalpe 1591, read, 1584.

5. for, Cyril Turner's All's lost by Luft, read, Rowley's Ali's loft &c.

VOL. V. 296. Note 8. for, Shirley's March &c. read, Rorvley's Match &c. 347. Note 4. for Sir J. Greihan), 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 Magiftrates, 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:


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

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

The Fac-fimile, to front the printed fignature 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 8vo. fize.

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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 save.
Trinculo, a jefter.
Stephano, a drunkeit butler.
Master of a ship, boatswain, and mariners.

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


Other spirits attending on Prospero.
SCENE, the sea, with a mip; afterwards an uns

inhabited island.

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


ACT 1.

1. SCENE .

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

Enter a ship-master and a Boatswain',

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

Maft. 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 establithed limits. Fletcher seems particularly to have admired these two plays, and hath wrote iwo in imitation of them, The Sea Voyage and The Faithful Shepherdejś. 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 Lillow-Cafie. 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 criticism 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 servant monfte 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, Tempests, and such like drolleries."

STEEVENS, Mr. Theobald tells us, that the Tempefi 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 : bestir, bestir.

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


tioned in it, were unknown to the English until that year; but this is a mistake. He might have seen in Hackluyt, 160c, 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 Tempefl.

“ 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.

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

FARMER. See a Note on The cloud-capt Towers, &c. a&t H. 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 skilful navigator, some inaccuracies and contradictory or. 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 Satiromafiix.

" They'll make his muse as pare as a tumbler." Steevens. Here it is applied as a sea-term, and in other parts of the scene. So he uses the adjective, act V. sc. v. 'Our ship is “ tight and yare.” And in one of the Henries, " yare are our “ Hips.” To this day the failors say, “ fit yare to the helm.” Again in Anton, and Cleop. II. iii. “ The tackles yarely frame the office." It occurs in its general acceptation, in Robert of Gloiter's Chronicle; where Edward the Confessor receives from two pilgrims the notice of his approaching death, edit. Hearne, vol. 1. p. 348. In consequence of this unexpected admonition, fays 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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