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(3. PLYMSELL, Printer, Leather Lane, Holbom, London.]

TEMPES T. *

Vol. IV.

B

* TEMPEST.) The Tempest and The Midsummer Night's Dream are the noblest efforts of that sublime and amazing imagination peculiar to Shakspeare, which foars above the bounds of nature, without fortaking sente; or, more properly, carries nature along with him beyond her established limits. Fletcher seems particularly to have admired these two plays, and hath wrote two in imitation of them, The Sea Voyage and The Faithful Shepherdess. But when he presumes to break a lance with Shakspeare, and write in emulation of him, as he does in The False One, which is the rival of Antony and Cleopatra, he is not so successful. After him, Sir John Suckling and Milton catched the brightest fire of their imagination from these two plays; which thines fantastically indeed in The Gollins, but much more nobly and ferenely in The Molk at Ludlow Cajile.

WARBURTON. No one has hitherto been lucky enough to discover the romance on which Shakspeare may be supposed to have founded this play, the beauties of which could not secure it from the criticism of Ben Jonson, whose malignity appears to have been more than equal to his wit. In the introduction to Bartholomew Fair, he says: “ If there be never a servant monjier in the fair, who can help it, he says, nor a neft of antiques ? He is loth to make nature afraid in his plays, like those that beget Tales, Tempejis, and such like drolleries." STEEVENS.

I was informed by the late Mr. Collins of Chichester, that Shakspeare's Tempest, for which no origin is yet afligned, was formed on a romance called Aurelio and Ifalella, printed in Italian, Spanish, French, and English, in 1588. But though this information has not proved true on examination, an useful conclusion may be drawn from it, that Shakspeare's story is tomewhere to be found in an Italian novel, at lealt that the ftory preceded Shakspeare. Mr. Collins had searched this subject with no less fidelity than judgement and industry; but his memory failing in his last calamitous indifpofition, he probably gave me the name of one novel for another. I remember he added a circumstance, which may lead to a discovery,—that the principal character of the romance, answering to Shakspeare's Profpero, was a chemical necromancer, who had bound a spirit like Ariel to obey his call, and perform his services. It was a common pretence af dealers in the occult sciences to have a demon at command. At least Aurelio, or Orelio, was probably one of the names of this romance, the production and multiplicity of gold being the grand object of alchemy. Taken at large, the magical part of the Tempji is founded on that fort of philofophy which was practised by John Dee and his associates, and has been called the Rosicrucian. The name Ariel came from the Talmudistick mysteries with which the learned Jews had infected this science. T. WARTON.

Mr. Theobald tells us, that The Tempest must have been written after 1609, because the Bermuda Inands, which are mentioned in it, were unknown to the English until that year; but this is a mistake. He might have seen in Hackluyt, 1600, folio, a description of Bermuda, by Henry May, who was shipwrecked there in 1593.

It was however.one of our author's latt works. In 1598, he played a part in the original Every Man in his Humour. Two of the characters are Prospero and Stephano. Here Ben Jonson taught him the pronunciation of the latter word, which is always right in The Tempest :

Is not this Stephăno, my drunken butler ?" And always wrong in his earlier play, The Merchant of Venice, which had been on the stage at least two or three years before its publication in 1600 :

“ My friend Stephāno, fignify I pray you," &c. -So little did Mr. Capell know of his author, when he idly supposed his school literature might perhaps have been loft by the disipation of youth, or the busy scene of publick life! FARMER.

This play must have been written before 1614, when Jonson fneers at it in his Bartholomew Fair. In the latter plays of Shakspeare, he has less of pun and quibble than in his early ones. In The Merchant of Venice, he expressly declares against them. This perhaps might be one criterion to discover the dates of his plays.

BLACKSTONE, See Mr. Malone's Attempt to ascertain the Order of Shakspeare's Plays, and a Note on The cloud-capp'd towers, &c. AA IV.

STEEYENS.

PERSONS REPRESENTED.*

Alonso, king of Naples.
Sebastian, his brother.
Prospero, the rightful Duke of Milan.
Antonio, his brother, the usurping Duke of Milan.
Ferdinand, Son to the king of Naples.
Gonzalo, an honefi old counsellor of Naples.
Adrian,
Francisco,

} lords.
Caliban, a savage and deformed save.
Trinculo, a jester.
Stephano, a drunken butler.
Master of a ship, Boatswain, and Mariners.
Miranda, daughter to Profpero.
Ariel, an airy Jpirit.
Iris,
Ceres,
Juno,

spirits.
Nymphs,
Reapers,

Other Spirits attending on Prospero. SCENE, the sea, with a ship; afterwards an

uninhabited island.

* This enumeration of persons is taken from the folio 1623.

Steevens.

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