famo Enter Charles, Alanson, Burgundie, Bastard, Char. Had Yorke and Somerfet brought rescue in, Baft. How the yong whelpe of Talbots, raging wood, well of the franch He left me proudly, as unworthy fight. Bur. Doubtleffe he would have made a noble Knight: Of the most bloody Nurffer of his harmes. still blooding Enter Lucy, and Beranto Char. For prisoners askft thou? Hell our prison is. briefly But tell me whom thou feek t Luc. But where's the great Alcides of the field, Valiant Lord Talbot Earle of Shrewsbury? Lord Strange of Blackmere, Lord Verdon of Alton, Lord Cromwell of Wingefield, Lord Furnivall of Sheffeild, Knight of the Noble Order of S. George, Of all his Warres within the Realme of France. THE TEMPEST. ACT I. SCENE I. P. 9. THE introductory stage-direction in the old folios, especially with the manuscript addition in that of 1632 (which we have marked in Italics) is striking and picturesque :— "A tempestuous noise of thunder and lightning heard: Enter a Shipmaster, and a Boatswain, as on shipboard, shaking off wet." In Malone's Shakspeare, by Boswell, (vol. xv. p. 19,) it stands only," A storm with thunder and lightning. Enter a Ship-master and Boatswain ;" but, from the corrected folio, 1632, it appears that the two actors who began the play entered as if on deck, shaking the rain and spray from their garments as they spoke, and thus giving an additional appearance of reality to the scene. "Enter Mariners, wet," occurs soon afterwards, and we are left to conclude that they showed the state of their dress in the same way, but we are not told so, either in print or manuscript. Alonso, Sebastian, Antonio, Ferdinand, Gonzalo, and the rest, come up From the cabin, (a part of the direction also supplied in manuscript, in the folio, 1632,) meaning, no doubt, that they ascended from under the stage, and are consequently supposed not to be in the same dripping condition. P. 9. "Alon. Good boatswain, have care." It may be just worth remark, that the colloquial expression is, "Have a care;" and a is inserted in the margin of the corrected folio, 1632, to indicate, probably, that the poet so wrote it, or, at all events, that the actor so delivered it. B SCENE II P. 12. The reading of all editions has been this: "The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin's cheek, The manuscript-corrector of the folio, 1632, has substituted heat for "cheek," which is not an unlikely corruption by a person writing only by the ear. The welkin's heat was occasioned by the flaming pitch, but the fire was dashed out by the fury of the waves. The firing of the "welkin's cheek" seems a forced image; but, nevertheless, we meet elsewhere with "heaven's face," and even the "welkin's face." P. 12. Miranda exclaims: "A brave vessel, Who had, no doubt, some noble creature in her, Creatures, for "creature," was the reading of Theobald, and he was right, though it varies from all the old copies. The corrector of the folio, 1632, added the necessary letter in the margin. Miranda speaks also of "those she saw suffer," and calls them "poor souls." P. 13. The emendation in the subsequent lines, assigned to Prospero, is important. The reading, since the publication of the folio, 1623 (with one exception to be noticed immediately) has invariably been as follows: "The direful spectacle of the wreck, which touch'd The very virtue of compassion in thee, I have with such provision in mine art Betid to any creature in the vessel." The only exception to the above text was a corruption which found its way into the folio, 1632, where "compassion" of the second line was repeated in the third : "I have with such compassion in mine art," &c. the printer having caught the word from the preceding line. "I have with such provision in mine art," |