1 SCENE I.-" Boatswain," &c. UPON this scene Dr. Johnson has the following remark:-"In this naval dialogue, perhaps the first example of sailors' language exhibited on the stage, there are, as I have been told by a skilful navigator, some inaccuracies and contradictory orders." Malone, in reply to this, very properly pointed out that the orders should be considered as given not at once, but successively, as the emergency required. In Boswell's edition we have a highly valuable communication from the second Lord Mulgrave, showing most conclusively that Shakspere's technical knowledge of seamanship must have been the result of the most accurate personal observation, or, what is perhaps more difficult, of the power of combining and applying the information derived from others. Lord Mulgrave supposes Shakspere must have acquired this technical knowledge "by conversation with some of the most skilful seamen of that time." He adds, "no books had then been published on the subject." Lord Mulgrave then exhibits the ship in five positions, showing how strictly the words of the dialogue represent these. We transcribe the general observations by which these technical illustrations are introduced :

:

"The succession of events is strictly observed in the natural progress of the distress described; the expedients adopted are the most proper that could have been devised for a chance of safety; and it is neither to the want of skill of the seamen nor the bad qualities of the ship, but solely to the power of Prospero, that the shipwreck is to be attributed.

"The words of command are not only strictly proper, but are only such as point the object to be attained, and no superfluous ones of detail. Shakspeare's ship was too well manned to make it necessary to tell the seamen how they were to do it, as well as what they were to do.

"He has shown a knowledge of the new improvements, as well as the doubtful points of seamanship: one of the latter he has intro

duced under the only circumstances in which it was indisputable."

Mr. Campbell gives the testimony of Captain Glascock, R.N., to the correctness of Shakspere

in nautical matters :-"The Boatswain in 'The Tempest' delivers himself in the true vernacular style of the forecastle."

2 SCENE I.-"Down with the topmast." Lord Mulgrave has the following note on this direction :-"The striking the topmasts was a new invention in Shakspeare's time, which he here very properly introduces. Sir Henry Manwaring says, 'It is not yet agreed amongst all seamen whether it is better for a ship to Postscript to the Dictionary he afterwards gives hull with her topmast up or down.' In the his own opinion:- If you have sea-room it is never good to strike the topmast.' Shakspeare has placed his ship in the situation in which it where he had not sea-room." was indisputably right to strike the topmast

SCENE I.-"No kind of traffic," &c. OUR readers are aware that there is in the British Museum a copy of the Essays of Montaigne' translated by Florio, having the autograph WILLM SHAKSPERE. We subjoin a passage from that volume which shows how familiar Shakspere was with its contents. It is an extract from the thirtieth chapter of the first book, describing an imaginary nation of canni

bals:

"Me seemeth that what in those nations we see by experience doth not only exceed all the pictures wherewith licentious poesy hath proudly embellished the golden age, and all her quaint inventions to fain a happy condition of man, but also the conception and desire of philosophy. They could not imagine a genuitie so pure and simple as we see it by experience; nor ever believe our society might be maintained with so little art and human combination. It is a nation, would I answer Plato, that hath no

kind of traffic, no knowledge of letters, no intelligence of numbers, no name of magistrate, nor of politic superiority; no use of service, of riches, or of poverty; no contracts, no successions, no dividences; no occupation, but idle; no respect of kindred, but common; no apparel, but natural; no manuring of lands; no use of wine, corn, or metal. The very words that import lying, falsehood, treason, dissimulation, covetousness, envy, detraction, and pardon, were How dissonant never heard amongst them. would he find his imaginary commonwealth from this perfection!"

5 SCENE II.-" Were I in England now," &c. It was usual for the Master of the Revels to license all public shows; and in 1632 there is an entry in the office-book of Sir Henry Herbert, "to James Seale to show a strange fish for half a year." The engraving below represents a show of the same period.