Boats. I pray now, keep below. Ant. Where is the master, boatswain ? Boats. Do you not hear him? You mar our labour. Keep your cabins; you do assist the storm. Gon. Nay, good, be patient. Hence ! What care these roarers for the name of king? To cabin: silence! trouble us not. Gon. Good; yet remember whom thou hast aboard. Boats. None that I more love than myself. You are a counsellor: if you can command these elements to silence, and work the peace of the present, we will not hand a rope more; use your authority: if you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap.-Cheerly, good hearts! -Out of our way, I say. [Exit. Gon. I have great comfort from this fellow: methinks, he hath no drowning mark upon him; his complexion is perfect gallows. Stand fast, good fate, to his hanging! make the rope of his destiny our cable, for our own doth little advantage! If he be not born to be hanged, our case is miserable. [Exeunt. Re-enter Boatswain. Boats. Down with the top-mast: yare; lower, lower. Bring her to try with main-course." [A cry within.] A plague upon this howling! they are louder than the weather, or our office. Re-enter SEBASTIAN, ANTONIO, and GONZALO. Yet again! what do you here? Shall we give o'er, and drown? Have you a mind to sink ? Seb. A pox o' your throat, you bawling, blasphemous, incharitable dog! 1632, and there is no doubt that the familiar expression was “have a care,” as we find it, among other places, in Fletcher's "Honest Man's Fortune," A. v. sc. 3, "Montague, have a care (Edit. Dyce, Vol. iii. p. 442). " Bring her to try with main-course.] We make no change in the text here, por is any suggested by the corr. fo. 1632; but it may be doubted whether this is the correct nautical phrase. Steevens quoted from Smith's "Sea Grammar," 1627, 1653, and 1692: "Let us lie as Trie with our maine course," &c., and in the folio, 1623, "Try" is printed with a capital letter; but so is "Maine-course.' Steevens misquoted Smith, who has "Let us lie at Trie," and not "Let us lie as Trie." Mr. Singer, who goes no farther than Steevens, repeats Steevens's error. Boats. Work you, then. Ant. Hang, cur, hang! you whoreson insolent noisemaker, we are less afraid to be drowned than thou art. Gon. I'll warrant him for drowning; though the ship were no stronger than a nutshell, and as leaky as an unstanched wench. Boats. Lay her a-hold, a-hold! Set her two courses: off to sea again; lay her off. Enter Mariners, wet. Mar. All lost! to prayers, to prayers! all lost! [Exeunt. Boats. What! must our mouths be cold? Gon. The king and prince at prayers! let us assist them, For our case is as their's. Seb. I am out of patience. Ant. We are merely' cheated of our lives by drunkards.— This wide-chapp'd rascal,―would, thou mightst lie drown ing, The washing of ten tides! Gon. He'll be hanged yet, Though every drop of water swear against it, And gape at wid'st to glut him. [A confused noise within.] Mercy on us! We split, we split!-Farewell, my wife and children!- Ant. Let's all sink with the king. Seb. Let's take leave of him. [Exit. Exit. Gon. Now would I give a thousand furlongs of sea for an acre of barren ground; long heath, brown furze, any thing. The wills above be done! but I would fain die a dry death. [Exit. SCENE II. The Island: before the Cell of PROSPERO. Enter PROSPERO and MIRANDA. Mira. If by your art, my dearest father, you have Put the wild waters in this roar, allay them. MERELY] i. e. Absolutely: a common mode of using the word of old. The sky, it seems, would pour down stinking pitch, With those that I saw suffer: a brave vessel, Have sunk the sea within the earth, or e'er Pro. Be collected: No more amazement. Tell your piteous heart, Mira. Oh, woe the day! No harm. I have done nothing but in care of thee, (Of thee, my dear one! thee, my daughter!) who Art ignorant of what thou art, nought knowing Of whence I am; nor that I am more better Than Prospero, master of a full poor cell, Mira. More to know 'Tis time Did never meddle with my thoughts'. Pro. I should inform thee farther. Lend thy hand, [Laying down his mantle. Lie there my art.-Wipe thou thine eyes; have comfort. The direful spectacle of the wreck, which touch'd The very virtue of compassion in thee, I have with such prevision in mine art' • - mounting to the welkin's CHEEK,] The corr. fo. 1632 has "cheek" erased in favour of heat; and it is very possible that heat may have been substituted by a performer in the time of the old annotator: we adhere however to the old text, recollecting the expressions "heaven's face," and "welkin's face," in "Love's Labour's Lost," and "cheeks of heaven" in "Richard II." 9 some noble CREATURES in her,] Creature of the old copies is altered to "creatures" in the corr. fo. 1632, which accords with the emendation made by Theobald. Miranda just afterwards calls them " 'poor souls," making it almost certain that "creatures" ought to be in the plural. 1 Did never MEDDLE with my thoughts.] i e. Mingle or mix with my thoughts. When "meddle was to be used as a monosyllable, it was sometimes spelt mell, as in Vol. ii. p. 605. I have with such PREVISION in mine art] There is no doubt that “pre So safely order'd, that there is no soul- Which thou heard'st cry, which thou saw'st sink. Sit down; For thou must now know farther. Mira. You have often Begun to tell me what I am; but stopp'd, And left me to a bootless inquisition, Pro. The very minute bids thee ope The hour's now come, thine ear; Obey, and be attentive. Canst thou remember A time before we came unto this cell ? [Sitting down. I do not think thou canst, for then thou wast not Mira. Certainly, sir, I can. Pro. By what? by any other house, or person? Of any thing the image tell me, that Hath kept with thy remembrance. Mira. "Tis far off; And rather like a dream, than an assurance That my remembrance warrants. Had I not Four or five women once, that tended me? Pro. Thou hadst, and more, Miranda. But how is it, That this lives in thy mind? What seest thou else In the dark backward and abysm of time ? If thou remember'st aught, ere thou cam❜st here, Mira. But that I do not. Pro. Twelve year since, Miranda, twelve year since, Thy father was the duke of Milan, and A prince of power. vision" (misprinted provision in all the folios) was the poet's word, and we meet with it in the margin of the corr. fo. 1632. It is due to the Rev. Mr. Hunter to add, that he also proposed "prevision" ("Discourse on The Tempest," 8vo, 1839, p. 125) at a time when he could not know that there was any such emendation of much earlier standing. As long since also as 1818, A. W. Schlegel translated the passage thus, and Prof. Mommsen, in his recent reprint (Berlin, 1854), has, very properly, seen no reason for altering the version : ▬▬▬▬ "hab' ich mit solcher Vorsicht Durch meine Kunst so sicher angeordnet." 'OUT three years old.] i. e. Three years complete. It is altered to "Quite three years old" in the corr. fo. 1632, but unnecessarily, and probably only the word of a player. The previous stage-direction, “Sitting down," is from the same authority, but it is not said that Miranda sits, and probably she does not. VOL. I. C Mira. Sir, are not you my father ? Pro. Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was duke of Milan, thou his only heir And princess, no worse issued'. Mira. Oh, the heavens ! What foul play had we, that we came from thence? Pro. Both, both, my girl: By foul play, as thou say'st, were we heav'd thence; But blessedly holp hither. Mira. Oh! my heart bleeds To think o' the teen' that I have turn'd you to, I pray Which is from my remembrance. Please you, farther. Without a parallel: those being all my study, And to my state grew stranger, being transported, Mira. Sir, most heedfully. Pro. Being once perfected how to grant suits, How to deny them, whom t' advance, and whom To trash for over-topping, new created THOU his only heir And princess, no worse issued.] The text in the folios is "Was duke of Milan, and his only heir," &c. The corr. fo. 1632 has "thou" for and, most fitly; and, as Mr. Singer suggests (while printing "thou," which he says he substituted in 1851), the old printer caught and from the preceding line. Giving Mr. Singer full credit for his assertion, as to his anticipation of the emendation in the corr. fo. 1632 (promulgated in 1853), we are glad to have this involuntary confirmation of what must be the genuine language of Shakespeare. - TEEN] i. e. Grief, trouble. The word occurs also in Vol. iv. p. 308; Vol. v. p. 112, &c., always in the same sense. • TO TRASH for over-topping,] The meaning of this passage is evident, but a dispute has arisen respecting the word "trash." Warburton contended that it was used to express the cutting away of superfluities, as of trees that grew too fast, and were therefore" over-topping :" on the other hand, there is no doubt that it was |