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This emendation is to be received solely because of the fact that the text is evidently but a quotation of a popular jingling song which had survived to the time of the MS. corrector. The corrector's authority for it was the same as Shakespeare's-that is, its existence in the mouths of the people. Thus, if the following version of some well-known historical lines were found in Shakespeare, it would evidently need emendation:

"Old King Cole

Was a merry old soul;

And a merry old soul he was.

He call'd for his pipe,

And he called for his fiddlers three."

In such a case there could not be the slightest hesitation in printing the third line,

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as the fifth line; because the rhyme is one of indefinable origin and antiquity, which has not yet died out of the popular ear; and our authority for it would be the same that Shakespeare's would, in that case, have been. The other instance is the restoration of " To all and some" and "feel the same" to an old song which Pistol spouts, in King Henry V. These are to be received for the reasons which we have just alleged. Nevertheless, in both instances, the restored line and words should be printed within brackets, to show that they are restorations: so zealously should the text of Shakespeare be guarded even in its least. important parts.

The publication of Mr. Collier's "Notes and Emendations," and especially of his recently issued "Plays of Shakespeare," so called, gave rise to serious apprehension for the present integrity, at least, of the text of those works which are the pride of our race, and our tongue. But the common sense of the world bids fair to disappoint such fears. The very few admissible readings in these volumes will be received, and the mass of them will be-are, already rejected. In Shakespeare's own words, "out of this nettle, danger, we pluck this flower, safety." If, out of the whole thirteen hundred proposed changes, but thirteen prove to be admissible corrections of passages in the original text, which need correction, the discovery and the discussion consequent upon it will not have been in vain. To restore a single passage in Shakespeare's text rewards much critical toil. He who discovers the needful word for the misprint "runawayes eyes," in the second scene of the third act of Romeo and Juliet, will secure the honourable mention of his name as long as the English language is read and spoken.

The most important lesson to be derived from our previous glance at the history of Shakespeare's text and the examination of Mr. Collier's folio which we have just finished, is not confined to the merits of the latter. Does it not teach us, conclusively, that the only source of any authority for the text of Shakespeare is in the original folio, which was published in 1623 by his friends, fellow-actors, and business partners: that when that text is utterly incomprehensible from the typographical errors which deform it, and then only, we should seek emendations: that those emendations should be first looked for in the quartos, because they were contemporaneous with Shakespeare, although surreptitiously published, or, at least entirely neglected by him: that only such corrupted passages as the quartos do not make clear are proper subjects for the exercise of conjecture; and such of these as conjecture does not amend, in a manner at once consistent with the context, with common sense, and with the language and customs of Shakespeare's day, should be allowed to stand untouched; because the experience of a century and a-half has taught us that when the original text seems incomprehensible, the difficulty may possibly be with ourselves; but, chiefly, because it is better to have in the works of Shakespeare an obscure text which may be Shakespeare's, than one which is clear, but with the light of another mind than his ? RICHARD GRANT WHITE.

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INTRODUCTORY REMARKS

FTER a careful examination of the sources from which Shakspere appears to have derived hints for the plot, characters, and incidents of the present drama, the predominating impression left on our minds is that of its originality. In this instance, as in almost all others, the more he borrows, the more does his entire power over his materials become apparent. The vulgar is metamorphosed into the refined; the crude outlines are filled up with well-established life; shadows are changed into substance, or substance into shadow; and the whole is put in motion, not like a new set of things, but with the crowded impetus of foregone existences, and all their complex activities.

A wild-headed, old "conceitede comedie," called "MUCEDORUS," has been thought by a pleasant critic of antiquarian literature (Octavius Gilchrist by name), to have furnished Shakspere with the first idea of the plot and persons of the "TEMPEST." The passages he adduces in support of his opinion are amusing from their dissimilarity. The romantic monster in "MUCEDORUS" makes love to the heroine princess in so truly poetical and touching a strain, that she absolutely consents to live with him in the woods; but eventually receives the hand of her royal lover! Still, there may be some slight foundation for the critical fancy.

It should be observed, that certain kinds of harmless "monsters" were in high favour with the court at this period. We find in the old chronicles and black-letter correspondence, that Queen Elizabeth, during a hunting excursion, was occasionally met, "all unawares," by some savage man issuing out of the woods, his naked body overgrown "with mosse and yvie." Instead of flourishing his club so as to bring his rich prize to the ground, and carry her off to his cave, according to his nature and "usual custom of an afternoon," the savage man made her a profound bow, and instantly fell to reciting a well-conceited batch of complimentary verses, very pleasant to hear.

A far more feasible origin of the "TEMPEST" " than the old, and once very popular comedy of "MUCEDORUS," may be supposititiously traced to an account by one Silvester Jourdan of the discovery of the Bermudas. In this we find a narrative of the shipwreck of Sir George Somers, who was on a voyage for the purpose of colonizing Virginia. He was cast on the Bermuda Islands, then uninhabited, and generally believed to be enchanted; although a benevolent commentator on Jourdan edifies and comforts his readers with the assurance that they were not really enchanted. Several mutinies occurred while Sir George Somers and his people remained on the island; and a sea-monster-man had once shown himself to some of the party whose eyes were best suited to the rare discovery. Stowe, in his " ANNALS," speaking of this shipwreck upon "the dreadful coast," further remarks, that these islands were, of all nations, said and supposed to be enchanted and inhabited with witches and devills, which grow by reason of accustomed monstrous thunder, storms, and tempests." This account by old Stowe of the elemental growth and generation of the hags and imps and devils and abortions of the island, is fearfully fine. Caliban and Sycorax and Setebos, might well be imagined to have first glared into life through the long fermenting incantation of "accustomed monstrous thunder!"

The narrative of the shipwreck of Sir George Somers was published in 1610: the romantic drama of the "TEMPEST," in 1611. It is supposed to have been the last of Shakspere's productions. How beautiful the thought, that after his hard struggle with the common world, and the licentious society into which he had been so much thrown, he should yet have preserved the freshness of heart, the youth of mind, the purity of affection, and the magnanimity of soul, which pervade this "enchanted" drama.

R. H. H.

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SCENE 1.-On a Ship at Sea. A storm, with thunder and lightning.

Enter a Shipmaster and a Boatswain. Master. Boatswain,

Boats. Here, master: what cheer? Master. Good: Speak to the mariners: fall to 't yarely, or we run ourselves aground; bestir, bestir. [Exit.

Enter Mariners.

Boats. Heigh, my hearts; cheerly, cheerly, my hearts; yare, yare: Take in the topsail; "Tend to the master's whistle.-Blow till thou burst thy wind, if room enough!

Enter ALONSO, SEBASTIAN, ANTONIO, FERDINAND, GONZALO, and others.

Alon. Good Boatswain, have care. Where's the master? Play the men.

Boats. I pray now, keep below.

Ant. Where is the master, Boatswain ?

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Gon. Good; yet remember whom thou hast aboard.

Boats. None that I more love than myself. You are a counsellor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more; use your authority. If you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap.-Cheerly, good hearts.-Out of our way, I say. [Exit.

Gon. I have great comfort from this fellow: methinks he hath no drowning mark upon him; his complexion is perfect gallows. Stand fast, good fate, to his hanging! make the rope of his

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