For "sour" the corrector substitutes sward-"the green-sward ringlets," or ringlets on the green-sward, which sheep avoid, and to which the unusual compound epithet "green-sour" may properly be applied. Here we may not see the necessity of this alteration, though it may have been warranted by some manuscript to which the corrector of the folio, 1632, was able to resort.

P. 76. We meet with changes of the received text in two consecutive lines of the continuation of the speech of Prospero, after Alonso, Gonzalo, Sebastian, Antonio, &c., have become "spellstopped" in the magic circle. The reading of all the editions has been,

"Holy Gonzalo, honorable man,

Mine eyes, even sociable to the show of thine,
Fall fellowly drops."

The epithet "holy" is inapplicable to Gonzalo, while noble (substituted by the corrector of the folio, 1632) is on all accounts appropriate. In the "Winter's Tale" (Act V. Scene I.) Leontes tells Florizel, "You have a holy father," where the word seems equally out of place, and where the corrector has, as in "The Tempest," erased it and written noble in its stead. In both these cases the copyist must have misheard; but the second error in

the same passage, "show" for flow, most probably arose out of the common mistake between the long s and the f. The manu. script-corrector gives the whole in these terms:

The eyes of Gonzalo were flowing with tears, and those of Prospero wept in fellowship with them.

as

P. 77. In the same speech Prospero again addresses Gonzalo

"O, good Gonzalo,

My true preserver, and a loyal sir

To him thou follow'st."

This is an uncommon, though not unprecedented, use of the

word "sir ;" and the fact is (according to the corrector of the folio, 1632), that it was a misprint for servant. In the manuscript used by the printer the word servant was probably abbreviated, and thus the error produced, the true reading being,

"My true preserver and a loyal servant

To him thou follow'st."

P. 78. Prospero, in the words of the manuscript stage direction, being Attired as duke of Milan, presents himself before his astonished brother, after Gonzalo has prayed some heavenly power to guide them out of the "fearful country." Antonio, in the first instance, believes that the whole is a diabolical delusion, and, according to all editions, exclaims,

"Whe'r thou beest he, or no,

Or some enchanted trifle to abuse me,
As late I have been, I not know."

The word "trifle" seems a most strange one to be employed in such a situation, and it reads like a misprint: the manuscript-corrector of the folio, 1632, informs us that it undoubtedly is so, and that the line in which it occurs ought to run,

"Or some enchanted devil to abuse me."

Sebastian just afterwards declares of Prospero, that "the devil speaks in him."

P. 80. To the printed stage-direction, Here Prospero discovers Ferdinand and Miranda playing at chess, the manuscript-corrector of the folio, 1632, adds a note, showing in what way, according to the simplicity of our early theatres, the lovers were disclosed to the audience his words are, Draw curtain; so that Prospero drew a traverse at the back of the stage, and showed Ferdinand and Miranda at their game.

P. 84. Prospero describing Sycorax, in the presence of Caliban, tells Antonio,

"His mother was a witch; and one so strong,

That could control the moon, make flows and ebbs,

And deal in her command, without her power."

The words "without her power" have naturally occasioned considerable discussion, in which Malone hinted that Sycorax might act by a sort of "power of attorney" from the moon, while Steevens strangely supposed that " without her power" meant "with less general power." All difficulty, however, is at an end, when we find the manuscript-corrector of the folio, 1632, marking “without" as a misprint, and telling us that it ought to have been with all;

"That could control the moon, make flows and ebbs,
And deal in her command with all her power:"

that is, Sycorax could "make flows and ebbs" matters in the command of the moon, with all the power exercised over the tides by the moon. The error of the press here is, we think, transparent.

THE TWO GENTLEMEN

OF

VERONA.

ACT I. SCENE I.

P. 92. THE reading of the subsequent line has hitherto been,""Tis true; for you are over boots in love;"

but the manuscript-corrector of the folio, 1632, has changed it to

""Tis true; but you are over boots in love;"

which seems more consistent with the course of the dialogue; for Proteus, remarking that Leander had been " more than over shoes in love" with Hero, Valentine answers, that Proteus was even more deeply in love than Leander; Proteus observes of the fable of Hero and Leander,—

"That's a deep story of a deeper love,

For he was more than over shoes in love."

Valentine retorts:

"'Tis true; but you are over boots in love."

"For," instead of but, was perhaps caught by the compositor from the preceding line.

The following change, lower in the page, seems hardly neces sary, but it is not the only instance in which the manuscript-corrector of the folio, 1632, has converted the active into the passive participle: he altered

"Even so by love the young and tender wit
Is turned to folly; blasting in the bud,"

to "blasted in the bud;" for the bud does not blast, but is itself blasted the "young and tender wit" is a "bud" blasted by love.

P. 96. Steevens and Malone differed about Speed's observation to Proteus, as it stands in the folio, 1623 :-" And being so hard to me that brought your mind, I fear she'll prove as hard to you in telling your mind." Steevens adopted the words from the folio, 1632-" And being so hard to me that brought your mind, I fear she'll prove as hard to you in telling her mind." Probably neither old reading is quite right, and the manuscript-corrector of the folio, 1632, has made it intelligible by his emendation,-" And being so hard to me that brought to her your mind, I fear she'll prove as hard to you in telling you her mind." The words to her and you are added in the margin. The fact is, that the whole speech was intended for irregular familiar verse, and the manuscript-corrector has added the word better at the end of the first line, which had apparently dropped out: the whole will therefore run as follows:

"Sir, I could perceive nothing at all from her better,
No, not so much as a ducat for delivering your letter;
And being so hard to me that brought to her your mind,
I fear she'll prove as hard to you in telling you her mind."

As a slight confirmation of the opinion that rhyming verse was intended, it may be mentioned, that in the folios the lines begin with capital letters as they are above printed. Still the same circumstance belongs to other places, where it is clear that prose only was to be spoken.

SCENE II.

P. 97. Rhyme is also restored in the next scene between Julia and Lucetta, where they are discussing the merits and claims of various amorous gentlemen. An apparent misprint of another kind, "lovely" for loving, is also corrected in manuscript in the folio, 1632. Julia has asked her maid what she thinks of Proteus,