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in those times for travellers to put out money, to receive a great sum if they liv'd to return; and, for proof, he referr'a me to Morison's Itinerary, part I. p. 198, &c. I cannot return my friends better thanks for the light they have given me upon this passage, than by subjoining a testimony from a contemporary poet, that will put both their explanation, and my correction of the text, pait dispute.

B. Jonson's Every Man out of his Humour, in the character of Puntarvolo.

I do intend, this year, of Jubilee coming on, to travel: And ( because I will not altoget her go upon expence,) I am determin’d to put forth some five thousand pound, to be paid me five

for one, upon the return of myself, my wife, and my dog, from the Turks's Court in Constantinople. If all, or either of us miscarry in the journey, 'tis gone ; if we be successful, wby, there will be five and twenty i bousand pounds to entertain time withal.

If this was to be the return of the Knight's venture ; 'tis obvious, he put out his money on five for one. Ben to heighen the ridicule of these projecting voyagers, makes Puntarvolo's wife averse to accompany him ; and so he is forc'd to put out his venture on the return of himfelf, his dog, and his cat.

THEOB. P. 57. I. 6.

clear life.] Pure, blameless, inpocent.

Johnson. L, 10.

- with good life.] This seems a corruption. I know not in what sense life can here be used, unless for alacrity, liveliness, vigour, and in this sense the expression is harsh. Perhaps we may read,

with good lift, with good will, with sincere zeal for my service. I should have proposed,

with good lief, in the fame sense, but that I cannot find lief to be a subftantive.

WARB. bass my trespass.] The deep pipe told it me in a rough bass found.

JOHNSON. P. 58. 1. 13.

-for I Have giv’n you bere a third of my own life,] Thus all the impressions in general; but why is she only a third of his own life? He had no wife living, nor any other child, to rob her of a share in his affe&tion : So that we may reckon

L. 24.

her at least half of himself. Nor could he intend, that he lov'd himself twice as much as he did her; for he immediate. ly subjoins, that it was She for whom he liv'd. In Othello, when Iago alarms the Senator with the loss of his daughter, he tells him,

Your heart is burst, you have lost half your soul. And dimidium animæ meæ is the current language on such occasions. There is no room for doubt, but I have restor’d to the Poet his true reading—the thread of life which is a phrase most frequent with him. So in K. Henry V.

And let not Bardolfe’s vital thread be cut

With edge of penny cord. I Henry VI.

-had not churchmen pray'd
His thread of life had not so soon decay’d.
2 Henry VI. Ergo, their thread of life is spun.
Othello.

I'm glad, thy father's dead;
Thy match was mortal to him, and pure grief
Shore his old thread in twain,

THEOB. Ibid.] In consequence of this ratiocination Mr. Theobald printed the text a thread of my own life. I have restored the antient reading. Profpero in his reason fubjoined why he calls her the third of his life, seems to allude to some logical distinction of causes, making her the final cause. Johns.

- ftrangely stood the teft.] Strangely is used by way of commendation, merveilleusement, to a wonder ; the sense is the same, in the foregoing scene, with observation strange.

JOHNSON L. 24. My gift.] My guest. First fol. JOHNSON,

P. 59. 1. 2. virgin-knot, -] Alluding to the Latin phrase of zonam solvere.

WARB.* L. 26. The rabble.] "The crew of meaner spirits. John's. P. 60. 1. 23,

bring a corollary.] Corollarium fignifies what we call supernumerary, or, what is more than just fufficient. The word has here a singular propriety and elegance. For corollaria were, amongst the Romans, the little gifts given to the people when plays were exhibited to them at their public festivals; and corolla crowns given to those actors who pleased more than ordinary.

WARB.* L. 25. No tongue.] Those who are present at incantations are obliged to be strictly filent, elfe, as we are afterwards told, the spell is marred,

JOHNSON.

L. 17.

SON.

P. 61. 1. 2. Thatch'd with sover.] With thatch'd Rover. Oxford Edit. Stover seems to be hay laid up. JOHNSO

L. 3. Tulip'd brims.] The old edition reads pionied and twilled brims, which I do not understand. Johns. Pioned and tilled brims; i. e, broken up and cultivated.

CAPELL. L.7. Tby pole-clipt vineyard,

And.tby sea-marge steril, and rocky hard.] Gildon, who has made what he calls a Glossary on Shakespeare, says-pole-clipt in the head. What he had in his head is not worth enquiring. Clipt here signifies embraced : but pole-clipt is a corrupt reading. It sounded well, because vines are supported by poles, to say pole-clipt vineyard; and sound was what the player-editors only attended to.

But a little sense might have taught them that vines could not be called pole-clipt, though poles might be called vine-clipt. Shakespeare wrote

Thy pale-clipt vineyard. i. e. the vineyard inclosed or fenced with pales, in opposition to the wide and open sea-marge or coast.

-Rocky hard should be read with an hyphen. It is one of the epithets to sea-marged -as hard as a rock.

WARB.* P. 62. l. 19. Earth’s Increase.] All the editions, that I have ever seen, concur in placing this whole sonnet to Juno: but very absurdly in my opinion. I believe every accurate reader, who is acquainted with poetical history, and the diftinet offices of these two goddesses, and who then seriously reads over our author's lines will agree with me, that Ceres's name ought to have been placed where I have now prefixed it.

THEOB.* P. 63. L. 2. This is a most majestick vision, and

Harmonious charmingly.] What was intended to be here commended was, 1. The vision of the goddesses. 2. Their songs. The vision is commended in these words, This is a most majestic vision.. But for the songs----We are put off with this nonsense and harmonious charmingly. To restore sense, and the other parts of the commendation, we must needs read

and Harmonious charming LAYS. And then both the visions and the songs will have their due praises. The word charming cannot with propriety be ap

1

plied to any thing but music and poetry, because these were supposed to operate, as charms. In our Author's time the word was generally so applied, though it be now used ridiculously on every object of pleasure.

WARB. Read, Charming lay.

CAN.&Rev. P. 64. L. 15.

these our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air ;
And like the baseless fabric of their vision,
The cloud-caft towers, the gorgeous palaces,
The folemn texmples, the great globe itself,
Yea all which it inberit, fall disolve;
And like this unsubstantial pageant faded,

Leave not a rack behind -] In this reading, all sublunary things, on account of their feeting existence, are compared to the mask of spirits, which, at the beck of Prosper, vanished suddenly away. But then there is a wretched tautology in the lines,

And like the baseless fabric, &c.

And like this unfubftantial pageant, &c. Not to mention the aukward pression of, their vision, which Mr. Theobald, upon what authority I know not, hath changed into this vifion, I suppose to make the expression a little more natural. I would read,

And like the baseless fabric of th'air visions. He had just before said, that the spirits were melted

-into air, into thin air. This furnishes him with the fine fimilitude of air visions, which generally appearing, as Shakespeare in another place says, like

A tower'd citadel, a pendant rock,

A förked mountain, or blue promontory, he very properly calls baseless fabrics, which doth not so well agree with spirits in a human form. By this emendation the tautology, taken notice of above, is avoided : and the poet, with great perspicuity, and phyfical exactness, compares the globe, and all inanimate things upon it, to air vifions, and men and animals in the wordswyea all wbich it inherit to the vision of Spirits, which the speaker had just before prefented to them. Further, that the comparison was indeed to air visions is still evident from the words,

- leave not a rack behind, which can refer only to air visions : for rack is the vestige of an embodied cloud, which hath been broken and difiipated by the winds. But lastly, to put the emendation out of all reasonable question, we have this very similitude of air vifions again in Antony and Cleopatra, with this difference only, that it is there applied to the transient glory of one man, and bere to that of human things in general.

ANTHON Y and CLEOPATRA.
Sometimes we see a cloud that's dragonish,
A vapcur, fomei imes like a bear or liin,
A towered citadel, a perdant rock,
A forked mountain, or blue promontory ;

thoa's feen these ligis,
They are black veíper's p-geznis--
That which is now a horse, e-vin with a thought,
The rack dislimns and makes it indistinci,
As water is in water -row iby captain is
Even such a body; here I'm Antkony,

Yet cannot kold ibis visiile jhape, &c.I will only add, that the thought They are black verper's pageants, is wonderfully beautiful; as it characterizes ütle air visions, which appear only in the evening, when the setting sun reflects its light upon the opposite clouds; and as it gives a vast force to the fimilitude, which intinuates that human glory is as certainly succeeded by misery, as these gaudy appearances by a dark cloudy night. It is observabic, that the time at which Prospero uses this firnilitude of air visins is the evening.-Hanmer, not knowing what mariners call the rack of a cloud, namely, the veftige of it, after it has been broken and driven by the wind. alters it to track.

Ibid.] It is strange that Mr. Warburton should not know that, upon the authority of the firit folio, Hanner reads track.

CANONS. * Dr. Warburton's note on this passage is altogether vifionary. His amendment of, air visions, is as much iautology as the old reading.

REVIS." P. 64. 1. 22.

Sir, I am vext, Bear with my weakness, my old brain is troubled:] VOL. I.

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