Him that you term'd The good old lord, Gonzalo, 'em, That if you now beheld them, your affections Would become tender. Pro. Do'st thou think fo, fpirit? Ari. Mine would, fir, were I human. Pro. And mine shall. Haft thou, which art but air, a touch, a feeling One of their kind, that relish all as fharply, Yet, with my nobler reason, 'gainst my fury In virtue than in vengeance: they being penitent, 5 a touch, a feeling] A touch is a fenfation. So in Cymbeline: 66 a touch more rare "Subdues all pangs, all fears." So in the 141ft fonnet of Shakespeare: "Nor tender feeling to base touches prone." Again in the Civil Wars of Daniel, b. I: 6 "I know not how their death gives such a touch.” that relish all as fharply, STEEVENS. Paffion as they,] Paffion is a verb in Shakespeare. I feel every thing with the fame quick fenfibility, and am moved by the fame paffions as they are. So in The Gent. of Verona: "Madam, 'twas Ariadne paffioning "For Thefeus' perjury," &c. Again, in his Venus and Adonis: "Dumbly the paffions, frantickly fhe doateth." Again, in Love's Labour's Loft, act I. fc. i: "I paffion to fay wherewith." Again, in Spenfer's Faery Queen, b. II. c. 9: 66 - to fee the maid "So ftrangely paffioned" A fimilar thought occurs in K. Rich. II: "Tafie grief, need friends, like you," &c. STEEVENS, The The fole drift of my purpose doth extend Not a frown further: Go, release them, Ariel; Ari. I'll fetch them, fir. [Exit. Pro. 7 Ye elves of hills, brooks, standing lakes, and groves; 8 And ye, that on the fands with printless foot The "re elves of bills, of ftanding lakes, and groves;] This fpeech Dr. Warburton rightly obferves to be borrowed from Medea's in Ovid: and it proves, fays Mr. Holt, beyond contradiction, that Shakespeare was perfectly acquainted with the fentiments of the ancients on the subject of inchantments." The original lines are these : "Auræque, & venti, montefque, amnefque, lacufque, "Diique omnes nemorum, diíque omnes noctis adefte." The tranflation of which, by Golding, is by no means literal, and Shakespeare hath closely followed it: "Ye ayres and winds; ye elves of hills, of brookes, of woods alone; "Of ftanding lakes, and of the night, approche ye everych 66 one." FARMER. Ye elves of bills, &c.] Fairies and elves are frequently in the poets mentioned together, without any diftinction of character that I can recollect. Keyfler fays that alp and alf, which is elf with the Suedes and English, equally fignified a mountain, or a dæmon of the mountains. This feems to have been its original meaning; but Somner's Dict. mentions elves or fairies of the mountains, of the woods, of the fea and fountains, without any diftinction between elves and fairies. TOLLET. with printless foot Do chafe the ebbing Neptune,-] So Milton in his Mafque: "Whilft from off the waters fleet, "Thus I fet my printless feet." STEEVENS. • (Weak mafters though ye be)-] The meaning of this paffage may be; Though you are but inferior mafters of thefe Supernatural H 3 powers, The noon-tide fun, call'd forth the mutinous winds, [Solemn mufick.] Re-enter Ariel: after him Alonso with a frantick gefture, attended by Gonzalo. Sebaftian and Anthonio in like manner, attended by Adrian and Francifco. They all enter the circle which Profpero had made, and there fand charm'd; which Profpero obferving, fpeaks. A folemn air, and the best comforter To an unfettled fancy, cure thy brains, Now useless, boil'd within thy fkull! there ftand, For you are spell-stopp'd. Holy Gonzalo, honourable man, Mine eyes, even fociable to the fhew of thine, powers, though you poffefs them but in a low degree. Spenfer ufes the fame kind of expreffion, b. III. cant. 8. ft. 4. "Where the (the witch) was wont her fprights to entertain, "The mafters of her art: there was the fain "To call them all in order to her aid." STEEVENS. -boil'd within thy full!] So in the Midfummer Night's Dream: "Lovers and madmen have such seething brains, &c." STEEVENS. Melting Melting the darkness, fo their rifing fenfes To him thou follow'ft; I will pay thy graces -Flesh and You brother mine, that entertain'd ambition, That now lies foul and muddy. Not one of them, I will dif-cafe me, and myself prefent, Ariel enters finging, and helps to attire him. There I couch when owls do cry. 3 After fummer, merrily Pro. 2 Thou'rt pinch'd for't now, Sebaftian.-Flesh and blood,] Thus the old copy: Theobald points the paffage in a different manner, and perhaps rightly: "Thou'rt pinch'd for't now, Sebastian, flesh and blood. STEEVENS. 3 After fummer, merrily:] This is the reading of all the editions. Yet Mr. Theobald has fubftituted fun-fet, because Ariel H 4 talks Pro. Why, that's my dainty Ariel: I fhall mifs But yet thou shalt have freedom: So, fo, fo.- talks of riding on the bat in this expedition. An idle fancy. That circumftance is given only to defign the time of night in which fairies travel. One would think the confideration of the circum. stances fhould have fet him right. Ariel was a spirit of great delicacy, bound by the charms of Profpero to a constant attendance on his occafions. So that he was confined to the island winter and fummer. But the roughness of winter is represented by Shakefpeare as difagreeable to fairies, and fuch like delicate spirits, who, on this account, conftantly follow fummer. Was not this then the moft agreeable circumftance of Ariel's new-recovered liberty, that he could now avoid winter, and follow fummer quite round the globe? But to put the matter quite out of question, let us confider the meaning of this line: There I couch when owls do cry. Where? in the corflip's bell, and where the bee fucks, he tells us: this must needs be in fummer. When? when owls cry, and this is in winter: "When blood is nipp'd, and ways be foul, "Then nightly fings the ftaring owl." The Song of Winter in Love's Labour Loft. The confequence is, that Ariel flies after fummer. Yet the Oxford Editor has adopted this judicious emendation of Mr. Theobald. WARBURTON. Ariel does not appear to have been confined to the island, summer and winter, as he was fometimes fent on fo long an errand as to the Bermoothes. When he fays, On the bat's back I do fly, &c. he fpeaks of his prefent fituation only, nor triumphs in the idea of his future liberty, till the last couplet; Merrily, merrily, &c. The bat is no bird of paffage, and the expreffion is therefore probably used to fignify, not that he purfues fummer, but that after Summer is paft, he rides upon the foft down of a bat's back, which fuits not improperly with the delicacy of his airy being. Shakespeare, who, in his Midfummer Night's Dream, has placed the light of a glow-worm in its eyes, might, through the fame ignorance of natural hiftory, have fuppofed the bat to be a bird of paffage. Owls cry not only in winter. It is well known that they are to the full as clamorous in fummer; and as a proof of it, Titania, in the Midfummer Night's Dream, the time of which is fuppofed to be May, commands her faeries to-keep back The clamorous owl, that nightly boots.- STEEVENS. There |