appearance in print. In Act II. sc. 1, is a passage so closely copied from Florio's version, as to leave no doubt of identity. If it be said that these lines may have been an insertion subsequent to the original production of the play, we answer, that the passage is not such as could have been introduced, like some others, to answer a temporary or complimentary purpose, and that it is given as a necessary and continuous portion of the dialogue. The Rev. Mr. Hunter, in his very ingenious and elaborate "Disquisition on the Tempest," has referred to this and to other points, with a view of proving that every body has hitherto been mistaken, and that this play instead of being one of his latest, was one of Shakespeare's earliest works. With regard to the point derived from Montaigne's Essays by Florio, 1603, he has contended, that if the particular essay were not separately printed before, (of which we have not the slightest hint) Shakespeare may have seen the translation in manuscript; but unless he so saw it in print or manuscript as early as 1595, nothing is established in favour of Mr. Hunter's argument; and surely when other circumstances show that "The Tempest" was not written till 1610,5 we need not hesitate long in deciding that our great dramatist went to no manuscript authority, but took the passage almost verbatim, as he found it in the complete edition. In the same way Mr. Hunter has argued, that "The Tempest" was not omitted by Meres in his list in 1598, but that it is found there under its second title, of "Love's Labours Won;" but this is little better than a gratuitous assumption, even supposing we were to admit that All's well that ends Well" is not the play intended by Meres. Our notion is, that "All's well that ends Well" was originally called "Love's Labours Won," and that it was revived, with some other changes, under a new name in 1605 or 1606. Neither can we agree with Mr. Hunter in thinking that he has established, that nothing was suggested to Shakespeare 4 Malone (Shaksp. by Boswell, vol. xv. p. 78.) quotes this important passage from Florio's translation of Montaigne with a singular degree of incorrectness: with many minor variations he substitutes partitions for "dividences," and omits the words "no manuring of lands" altogether. This is a case in which verbal, and even literal, accuracy is important. 5 In the Introduction to "The Winter's Tale," we have assigned a reason, founded upon a passage in R. Greene's "Pandosto," for believing that "The Tempest" was anterior in composition to that play. 6 Mr. Hunter contends that in "The Tempest ""love's labours" are "won;" but such is the case with every play in which the issue is successful passion, after difficulties and disappointments: in "The Tempest " they are fewer than in most other plays, since from first to last the love of Ferdinand and Miranda is prosperous. At all events "The Tempest " was played at Court under that title in 1611 and 1613. Mr. Hunter also endeavours to establish that Ben Jonson alluded to "The Tempest" in 1596, in the Prologue to "Every Man in his Humour;" but while we admit the acuteness, we cannot by any means allow the conclusiveness, of Mr. Hunter's reasoning. by the storm, in July 1609, which dispersed the fleet under Sir George Somers and Sir Thomas Gates, of which an account was published by a person of the name of Jourdan in the following year. This point was, to our mind, satisfactorily made out by Malone, and the mention of " the still-vex'd Bermoothes" by Shakespeare seems directly to connect the drama with Jourdan's 66 Discovery of the Bermudas, otherwise called the Isle of Devils," printed in 1610. We are told at the end of the play, in the folio of 1623, that the scene is laid "in an uninhabited island," and Mr. Hunter has contended that this island was Lampedusa, which unquestionably lies in the track which the ships in "The Tempest" would take. Our objection to this theory is two-fold: first, we cannot persuade ourselves, that Shakespeare had any particular island in his mind; and secondly, if he had meant to lay his scene in Lampedusa, he could hardly have failed to introduce its name in some part of his performance: in consequence of the deficiency of scenery, &c., it was the constant custom with our early dramatists to mention distinctly, and often more than once, where the action was supposed to take place. As a minor point, we may add, that we know of no extant English authority to which he could have gone for information, and we do not suppose that he consulted the Turco Græcia of Crusius, the only older authority quoted by Mr. Hunter. No novel, in prose or verse, to which Shakespeare resorted for the incidents of "The Tempest" has yet been discovered; and although Collins, late in his brief career, mentioned to T. Warton that he had seen such a tale, it has never come to light, and we apprehend that he must have been mistaken. We have turned over the pages of, we believe, every Italian novelist, anterior to the age of Shakespeare, in hopes of finding some story containing traces of the incidents of "The Tempest," but without success. The ballad entitled "The Inchanted Island," printed in "Farther Particulars regarding Shakespeare and his Works," is a more modern production than the play, from which it varies in the names, as well as in some points of the story, as if for the purpose of concealing its connection with a production which was popular on the stage. Our opinion decidedly is, that it was founded upon "The Tempest," and not upon any ancient narrative to which Shakespeare also might have been indebted. It may be remarked, that here also no locality is given to the island: on the contrary, we are told, if it ever had any existence but in the imagination of the poet, that it had disappeared : "From that daie forth the Isle has beene By wandering sailors never seene Some say 'tis buryed deepe Beneath the sea, which breakes and rores Nor ere is knowne to sleepe." Mr. Thoms has pointed out some resemblances in the incidents of an early German play, entitled Die Schone Sidea, and "The Tempest:" his theory is, that a drama upon a similar story was at an early date performed in Germany, and that if it were not taken from Shakespeare's play, it was perhaps derived from the same unknown source. Mr. Thoms is preparing a translation of it for the Shakespeare Society, and we shall then be better able to form an opinion, as to the real or supposed connection between the two. When Coleridge tells us (Lit. Rem. ii. p. 94.) that "The Tempest' is a specimen of the purely romantic Drama," he of course refers to the nature of the plot and personages: in one sense of the words, it is not a "romantic drama," inasmuch as there are few plays, ancient or modern, in which the unities are more exactly observed: the whole of the events occupy only a few hours. At the same time it is perfectly true, as the same enlightened and fanciful commentator adds, "It is a species of drama, which owes no allegiance to time or space, and in which, therefore, errors of chronology and geography-no mortal sins in any species-are venial faults, and count for nothing: it addresses itself entirely to the imaginative faculty." This opinion was delivered in 1818; and three years earlier Coleridge had spoken of "The Tempest," as certainly one of Shakespeare's latest works, judging from the language only: Schlegel was of the same opinion, without, however, assigning any distinct reason, and instituted a comparison between "The Tempest" and "Midsummer Night's Dream," adding, "The preponderance of thought in 'The Tempest,' exhibited in its profound and original characterisation, strikes us at once; but we must also admire the deep sense of the art (tiefsinnige Kunst) which is apparent in the structure of the whole, in the wise economy of its means, and in the skill with which the scaffolding is raised to sustain the marvellous aerial structure." Ueber Dram. Kunst und Litt. Vol. iii. p. 123. edit. 1817. THE TEMPEST. DRAMATIS PERSONE. ALONSO, King of Naples. SEBASTIAN, his Brother. PROSPERO, the right Duke of Milan. ANTONIO, his Brother, the usurping Duke of FERDINAND, Son to the King of Naples. ADRIAN, FRANCISCO, Lords. CALIBAN, a savage and deformed Slave. STEPHANO, a drunken Butler. Master of a Ship, Boatswain, Mariners. MIRANDA, Daughter to Prospero. ARIEL, an airy Spirit. IRIS, CERES, Other Spirits attending on Prospero. SCENE, a Ship at Sea; afterwards an uninhabited Island. 1 Former editions: the sea with a ship. THE TEMPEST. ACT I. SCENE I.-On a Ship at Sea. A tempestuous noise of Thunder and Lightning heard.1 Enter a Ship-master and a Boatswain, as on ship-board, shaking off wet.2 Master. Boatswain ! Boats. Here, master: what cheer? Mast. Good. Speak to the mariners: fall to 't yarely,3 or we run ourselves aground: bestir, bestir. Enter Mariners. [Exit. Boats. Heigh, my hearts! cheerly, cheerly, my hearts! yare, yare. Take in the topsail; tend to the master's whistle.-Blow, till thou burst thy wind, if room enough! Enter ALONZO, SEBASTIAN, ANTONIO, FERDINAND, GonZALO, and Others, from the Cabin.* Alon. Good boatswain, have a care. master? Play the men. Boats. I pray now, keep below. Ant. Where is the master, boatswain ? Where's the Boats. Do you not hear him? You mar our labour. Keep your cabins: you do assist the storm. Gon. Nay, good, be patient. Boats. When the sea is. 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 1 heard: not in f. e. 2 as on ship-board, etc. not in f. e. bly. 4 from the cabin: not in f. e. 5 a not in f. e. 3 Nim |