selected the reading which seems to him to be probably correct. The Notes are constructed on the idea that what is above all things necessary is to teach the student to analyse every obscure sentence and trace out the logical sequence of the Poet's thoughts. Next, to point out the rules which appear to have governed Shakespeare's versification; then to explain the meaning of such words or forms of words as are either now obsolete or have acquired a new signification; and finally to guide the student's taste by directing his attention to such passages as seem especially worthy of note for their poetical beauty or truth to nature. It now only remains to offer a word of advice as to the mode of studying the play. The student should first, I think, read it over for the sake of the story, never stopping to look at the notes, or to find out the exact meaning of any particular word or phrase, but contenting himself with a general idea of the drift of the whole. But if any particular passage strikes him, let him dwell upon it and read it aloud. This will improve his taste. He should then read the play a second time, sentence by sentence, and endeavour to unravel every intricate phrase, and to see the exact force and meaning of every word, remembering that there is nothing like reading aloud for elucidating a difficult passage. The ear seems to catch the obscure idea more readily than the eye; for language, after all, was intended to be heard, not seen. Reading aloud is also the best way of discovering the metre of any particular line; for Shakespeare's lines must be scanned by the accent, not by the number of syllables, like Pope's. But he must not leave a single sentence behind him, until with the assistance of the notes he has thoroughly mastered its construction, meaning, and metre. When he has accomplished this, he will have done much to improve his knowledge of grammar and to cultivate his taste. I cannnot better conclude than by quoting Dr. Johnson's short but comprehensive criticism of this beautiful poem: "It is observed of The Tempest that its plan is regular; this the author of The Revisal thinks, what I think too, an accidental effect of the story, not intended or regarded by our author. But whatever might be Shakespeare's intention in forming or adopting the plot, he has made it instrumental to the production of many characters, diversified with boundless invention, and preserved with profound skill in nature, extensive knowledge of opinion, and accurate observation of life. In a single drama are here exhibited princes, courtiers, and sailors, all speaking in their real characters. There is the agency of airy spirits and of an earthly goblin, the operations of magic, the tumults of a storm, the adventures of a desert island, the native effusion of untaught affection, the punishment of guilt, and the final happiness of the pair for whom our passions and reason are equally interested." DRAMATIS PERSONE. ALONSO, King of Naples. PROSPERO, the right Duke of Milan. ANTONIO, his brother, the usurping Duke of Milan. ADRIAN, } Lords. CALIBAN, a savage and deformed Slave. STEPHANO, a drunken Butler. Master of a Ship. Boatswain. Mariners. SCENE-A ship at sea: an uninhabited island. |