at the same time, does not well appear. Besides, Dyce's mode of printing, it seems to me, expunges a delicate touch of poetry that is well worth keeping. See foot-note 89.

P. 69. Hark, hark! the watch-dogs bark, &c. -I here adopt the reading and arrangement proposed by Mr. P. A. Daniel; which, I think, fairly extricate the latter part of Ariel's song from all difficulty. In the original it stands thus:

Foote it featly heere, and there, and sweete Sprights beare
Burthen dispersedly.

the burthen.

Harke, harke, bowgh wawgh: the watch-Dogges barke,

bowgh-wawgh.

Ar. Hark, hark, I heare, the straine of strutting Chanticlere

cry cockadidle-dowe.

Mr. Daniel comments upon the matter as follows: "Every reader will, I think, accept Pope's alteration of beare the burthen to the burthen beare; but there seems to be a diversity of opinion as to what that burthen is. Some editors only give bowgh-wawgh, bowgh-wawgh, as the burthen; others the whole line, Harke, harke, bowgh-wawgh: the watch-dogges barke, bowgh-wawgh; and all give cry cockadidle-dowe as part of Ariel's song. Cry seems to me to be merely a stage-direction. The burthen heard dispersedly is the barking of dogs and the crowing of cocks."

My fool my tutor?—The original has fo instead of fool. Walker says, "Read fool," and quotes from Beaumont and Fletcher's Pilgrim, iv. I: —

When fools and mad-folks shall be tutors to me,

And feel my sores, yet I unsensible, &c.

P. 74. My father's loss, the weakness which I feel,
The wreck of all my friends, and this man's threats
To whom I am subdued, are light to me.

The original reads

nor this man's threats," and "are but light to me"; of which the one plainly upsets the sense, and the other the metre.

ACT II., SCENE I.

P. 76. I pr'ythee spare me.· So Walker. The original lacks me.

P. 77. Adri. Though this island seem to be desert, –

Sebas. Ha, ha, ha!

Adri. uninhabitable, &c.—The original prints the second line as two speeches, and assigns the latter part, "So, you're paid," to Antonio. Mr. White changes you're paid to you've paid. The correction in the text is Theobald's. See foot-note 5.

P. 79. Alon. Ah! -The original has "Gon." instead of "Alon.” The correction is Staunton's; who notes, "this exclamation belongs to Alonso, who is awakened from his trance of grief."

P. 81.

And the fair soul herself

Weigh'd, between loathness and obedience, at

Which end the beam should bow.· The original reads “ at Which end o' the beam should bow." Modern editions generally change should to she'd; but it seems to me much better to erase o', and thus make beam the subject of should bow. Pope's correction.

P. 83. Sebas. God save his Majesty!

Anto. Long live Gonzalo! - So Walker. The original omits God, which was probably stricken out by the Master of the Revels in obedience to the well-known statute against profanity. In such matters, the Poet's judgment seems preferable to an Act of Parliament. The folio has many instances of such omission, where the quartos which were printed before the passing of the Act in question give the text as Shakespeare undoubtedly wrote it.

not.

P. 84. Will you laugh me asleep? for I am very heavy.

Anto. Go sleep, and hear us not. -The original is without There appears no assignable reason of wit why the Poet should have left it out, and all other reasons certainly require it. Keightly's correction.

P. 87. Ambition cannot pierce a wink beyond,

But doubt discovery there.- Here Capell substitutes doubts for doubt, but, as it seems to me, without at all relieving the obscurity. Hanmer reads “But drops discovery there." This is more intelligible, but still unsatisfactory. The passage has long been a poser to me, as I have met with no sufficient explanation of it. Possibly we ought to read "Nor aught discover there." See foot-note 42.

P. 87. She that is Queen of Tunis; she that dwells

Ten leagues beyond man's life; she that from Naples
Can have no note, unless the Sun were post,
The Man-i-the-moon's too slow,- till new-born chins
Be rough and razorable. She 'twas for whom we
All were sea-swallow'd, though some cast again;

And, by that destiny, to perform an act, &c. In the old text, the fifth of these lines stands precisely thus: "Be rough, and Razor-able: She that from whom." The modern text is, "Be rough and razorable; she that from whom," or "she from whom," or "she from whom coming." But these readings all seem to me to miss the essential point; for they proceed upon the supposal that what comes after razorable is in the same construction with what precedes; which appears quite at odds with the proper logic of the passage, and also with the right Shakespearian rhythm of thought and expression. And the old text rather looks as if a full stop were intended at razorable, and a new construction there to begin. On the other hand, however, in the old "She that from whom," that must needs be taken as a relative pronoun, just as it is in the preceding clauses. Now "she that from whom" is not English, and, I am sure, never was; for it is the same as "she who from whom," which is absurd. At one time I thought of reading "She's that from whom," which makes that a demonstrative pronoun, and thus removes the absurdity aforesaid. But it seems to me better to substitute 'twas, and so get rid of that altogether. Nor is the change at all violent. And my theory is, that "she that from" got repeated by a sort of contagion from the third line above. As to the change of from into for, perhaps it is not strictly necessary, as from may possibly yield the same meaning. At all events, for whom legitimately carries the sense of on whose account, or, because of whom. For is often used thus. — In the old text, again, the pronoun we stands at

the beginning of the sixth line, instead of at the end of the fifth. This change is made because, in the old arrangement, the proper rhythm of the sixth is spoiled, it being against all Shakespearian rules to set an extra syllable at the beginning of a verse; whereas nothing is more common than such syllables at the end. See foot-note 45.

P. 88.

A space whose every cubit

Seems to cry out, "How shalt thou, Claribel,

Measure us back to Naples? Keep in Tunis,

And let Sebastian wake!"—The original reads "How shall that Claribel Measure," &c. The reading here given is Hanmer's. I am surprised that it has not been more generally accepted; for the continuation of the speech, "Keep in Tunis," &c., is clearly an apostrophe to Claribel, and was no doubt meant to be in the same construction.

P. 89. Sebas. But, for your conscience

Anto. Ay, sir; and where lies that? if'twere a kibe,
my slipper.—The original is without and in
Inserted by Dyce.

'Twould put me to

the second of these lines.

P. 89.

Here lies your brother,

No better than the earth he lies upon,

If he were that which now he's like; whom I,

With this obedient steel, three inches of it,

inal has that's dead after

Can lay to bed for ever.— - In the third of these lines, the orignow he's like," and transfers whom I to the beginning of the next line. Steevens made the following just note upon the passage: "The words that's dead (as Dr. Farmer observes to me) are evidently a gloss, or marginal note, which has found its way into the text. Such a supplement is useless to the speaker's meaning, and the next verse becomes redundant by its insertion."

P. 90. My master through his art foresees the danger

That you, his friend, are in; and sends me forth —

For else his project dies· to keep thee living. - The original reads " to keepe them living." Some editors change project to projects, and thus make an antecedent for them; but Dyce's correction is unquestionably right.

P. 90. Gon. [Waking.]

Now, good angels

Preserve the King!-[TO SEBAS. and ANTO.] Why, how now!

[TO ALON.] Ho, awake!

[TO SEBAS. and ANTO.] Why are you drawn? wherefore this ghastly looking?

Alon. [Waking.] What's the matter?—I here give the arrangement which Dyce adopted and improved from Staunton. The old text makes a strange muddle of the passage, thus:

Gon. Now, good Angels preserve the King.

Alon. Why how now hoa; awake? why are you drawn?
Wherefore this ghastly looking?

Gon. What's the matter?

P. 91. I saw their weapons drawn: there was a noise,

That's verity. Instead of verity, the original has verily. Cor. rected by Pope.

66

ACT II., SCENE II.

P. 96. Here; swear, man, how thou escapedst. The old text reads swere then how thou escap'dst." This makes the speech addressed to Caliban, whereas the context clearly requires it to be addressed to Trinculo. Several ways of printing have been proposed, in order to get over the difficulty; but they only remove one difficulty to draw on another. Probably the transcriber or compositor supposed the speech addressed to Caliban, and sophisticated it into logical harmony with that idea, by changing man into then.

Young staniels from the rock. - Instead of staniels, the original has scamels, which has drawn forth a deal of commentary. The correction is Dyce's, from whose remarks on the passage I condense the following: "Here scamels has been explained as the diminutive of scams, and as meaning limpets. But I have little or no doubt that it is a misprint: for who gathers young limpets? and besides, the words from the rock would seem to be equivalent to from the cliffs. Theobald substituted shamois, and also proposed sea-malls or sea-mells, and stannels or staniels. In the first place, staniels comes very near the