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The following Mistakes are chargeable on the Editor only.

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18. Note 3. for Campafpe 1591, read, 1584.

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


296. Note 8. for, Shirley's Match &c. read, Rowley's Match &c. 347. Note 4. for Sir J. Gresham, read, Sir T. Grelham. 568. End of Note 9. for Dryden, read, Waller.


560. For, Melancholy Lover, read, Lover's Melancholy.


4. Note 3. As the date of the Mirrour for Magißrates, for, 1587, read, 1575.


142. In Note 6. for, B. and Fletcher, read only, Fletcher.


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 Shakespeare (marked by miftake face his will; i. e. to front p. 196 of the Prefaces.

.,) to

The Fac-fimile, to front the printed fignature to Shefpeare'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.




Perfons Reprefented *.

Alonfo, king of Naples.

Sebaftian, his brother.

Profpero, the rightful duke of Milan.

Anthonio, his brother, the ufurping duke of Milan
Ferdinand, fon to the king of Naples.

Gonzalo, an honeft old counsellor of Naples.

Adrian, } lords:


Caliban, a favage and deformed flave.

Trinculo, a jefter.

Stephano, a drunken butler.

Mafter of a fhip, boatswain, and mariners.

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Other Spirits attending on Profpero.

SCENE, the fea, with a ship; afterwards an un inhabited island.

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




On a fhip at fea.

A tempeftuous noife of thunder and lightning heard.

Enter a Ship-mafter and a Boatfiain.

Mafter. Boatswain,—

Boats. Here, mafter: What cheer?


Tempeft.] The Tempest and The Midfummer's Night's Dream, are the nobleit efforts of that fublime and amazing imagination peculiar to Shakespeare, which foars above the bounds of nature without forfaking fenfe: or, more properly, carries nature along with him beyond her established limits. Fletcher feems particularly to have admired thefe two plays, and hath wrote two in imitation of them, The Sea Voyage and The Faithful Shepherdes. But when he prefumes to break a lance with Shakespeare, and write in emulation of him, as he does in The Falfe One, which is the rival of Anthony and Cleopatra, he is not fo fuccefsful. After him, fir John Suckling and Milton catched the brighteft fire of their imagination from these two plays; which fhines fantastically indeed in The Goblins, but much more nobly and ferenely in The Mafk at Ludlow-Caftie. WARBURTON.

No one has been hitherto lucky enough to difcover the ro mance on which Shakespeare may be fuppofed to have founded this play, the beauties of which could not fecure it from the criticifm of Ben Jonfon, whofe malignity appears to have been more than equal to his wit. In the induction to Bartholome Fair, he fays: "If there be never a fervant monster in the "fair, who can help it, nor a nest of antiques? He is loth to "make nature afraid in his plays, like thofe that begct Tales, Tempefts, and fuch like drolleries." STEEVENS,


Mr. Theobald tells us, that the Tempeft must have been written after 1609, because the Bermuda islands, which are men

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Maft. Good: Speak to the mariners

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yarely, or we run ourselves aground: beftir, beftir.

Enter Mariners.

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

tioned in it, were unknown to the English until that year; but this is a mistake. He might have seen in Hackluyt, 1600, 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 Profpero and Stephano. Here Ben Jonfon taught him the pronunciation of the latter word, which is always right in the Tempest.

"Is not this Stephano, my drunken butler ?"

And always wrong in his earlier play, the Merchant of Venice, which had been on the ftage 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 fuppofed his school literature might perhaps have been lost by the diipation of youth, or the bufy fcenes of publick life!


See a Note on The cloud-capt Towers, &c. act . STEEVENS. 2 In this naval dialogue, perhaps the first example of failor's language exhibited on the ftage, there are, as I have been told by a skilful navigator, fome inaccuracies and contradictory orders. JOHNSON.

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3-fall to't yarely, ]i. e. Readily, nimbly. Our author is frequent in his ufe of this word. So in Decker's Satiromaftix. They'll make his mufe as yare as a tumbler." STEEVENS. Here it is applied as a fea-term, and in other parts of the fcene. So he uses the adjective, act V. fc. v. "Our ship is "tight and yare." And in one of the Henries, "yare are our "fhips." To this day the failors fay, "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 Glofter's Chronicle; where Edward the Confeffor receives from two pilgrims the notice of his approaching death, edit. Hearne, vol. I. p. 348. In confequence of this unexpected admonition, fays the chronicler,

"His gold he delde to pouere men, and made his bernes bare, "And his treforie al fo gode, and to God hym made at gare.

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