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The following Mistakes are chargeable on the Editor only.
VOL. III. 18. Note 3. for Campaspe 1591, read, 1584. 452. Note
for, Cyril Turner's All's loft by Luft, resd, Rowley's All's loft &c.
VOL. V. 296. Note 8. for, Shirley's March &c. read, Rofwley's Watch &c. 347. Note 4. for Sir y Grelhani, reayl, Sir T. Greidan. 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 Magistrateas for, 1587,
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'sa
DIRECTIONS to the BINDER.
The large Head of Shaketpeare, to face the title-page to Vol. I.
The small Head of Shakespeare (marked by mistake N°. 3.) to face his will ; i. e. to front p. 196 of the Prefaces.
The Fac-simile, to front the printed signature to Shakespeare's will ; i. e. p. 200.
The Morris-darcers, 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.
Persons Reprefented *.
Alonso, king of Naples.
Miranda, daughter to Prospero.
Other spirits attending on Prospero.
SCENE, the fea, with a ship; afterwards an ux
This enumeration of persons is taken from the Folio 1623.
A CT I.
On a sip at sea.
A tempestuous noise of thunder and lightning heard.
Enter a Ship-master and a Boatswain *.
Maft. Tempeft.] The Tempest and The Midsummer's Night's Dream; are the nobleit 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 iwo in imitation of thein, The Sea Voyage and The Faithful Shepherdess. 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 Ludlow-Cafle.
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 criticisin of Ben Jonson, whose malignity appears to have been more than equal to his wit. In the induction to Bartholomeru Fair, he says : “ If there be never a servant monfter in the “ fair, who can help it, nor a nést 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 Tempelt must have been writ. ten after 1609, because the Bermuda itlands, which are menB 2
Maft. Good : Speak to the mariners :-} fall to's yarely, or we run ourselves aground : bestir, bestir.
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 Tempeft.
“ Is not this Stephano, my drunken butler?" And always wrong 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 fchool literature might perhaps have been los by the dilipation of youth, or the buly scenes of publick lite ! See a Note on The cloud-capt Towers, &c. aet III. STEEVENS.
2 In this naval dialogue, perhaps the first example of failor's language exhibited on the stage, there are, as I have been told by a skilful navigator, some inaccuracies and contradictory ora ders. JOHNSON.
3-fall to’t yarela, —- ) 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 yare 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
To this day the sailors say, “ fit yare to the helm." Again in Anton. and Cleop. II. iii. “ The tackles parely frame the office.” It occurs in its general acceptation, in Robert of Gloster's Chronicle; where Edward the Confeflor receives from two pilgrims the notice of his approaching death, edit
. Hearne, vol. I. 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 treforie al to gode, and to God hym made at gare.