a "dismissed bachelor" should love the covert of "broom groves," especially recollecting that broom trees are seldom found in "groves." It may be added that the word slowly is subjoined to the printed stage-direction, Juno descends,— to show, perhaps, that the goddess was gradually descending all the time Ceres and Iris delivered their speeches.

P. 68. An important change is made in the song given to Juno (and not divided, in the corrected folio, 1632, between her and Ceres, as has been usual) in the couplet,

"Spring come to you, at the farthest,

In the very end of harvest."

The first line is altered to,

"Rain come to you, at the farthest," &c.

It may be asked why Juno should wish spring to be so long deferred? On the other hand, rain before "the very end of harvest," would be a misfortune, and the singer is deprecating such disasters. Nevertheless, this is an error for which it is not easy to account by supposing the word either misheard or misprinted.

P. 68. The following would seem to be mistakenly printed as a couplet :

"So rare a wond'red father and a wise
Makes this place Paradise."

The unequal length of the lines, and the fact that the last is a hemistich, completed by the opening of Prospero's next speech, militates against this notion: Malone and others therefore printed wife for "wise," supposing that the compositor had mistaken the long s for f. Perhaps the decision of the corrector of the folio, 1632, may be held final, and he adopts wife :

"So rare a wond'red father, and a wife

Makes this place Paradise."

In the next speech of Iris, "windring" has been treated by him as a misprint for winding, and "sedg'd crowns" is altered in the margin to "sedge-crowns," regarding the fitness of which we can hardly doubt.

P. 71. To the old stage-direction, Enter Ariel, loaden with glistering apparel, the manuscript-corrector of the folio,

1632, has added the explanatory words, Hang it on the line; but whether we are to understand a line tree (as has been suggested by Mr. Hunter, in his learned Essay on the Tempest, Svo. 1839), or a mere rope, is not stated. When Stephano and Trinculo discover it, Seeing the apparel is written opposite the speech of the latter, beginning, "O, king Stephano! O peer! O, worthy Stephano! look, what a wardrobe here is for thee!" p. 72.

ACT V. SCENE I.

P. 75. Only one manuscript emendation is made in Prospero's great speech, abjuring his magic; but it is worth attention. The passage has invariably run :—

"You demy puppets, that

By moonshine do the green-sour ringlets make,
Whereof the ewe not bites."

For "sour" the corrector substitutes sward-" the greensward ringlets," or ringlets on the green-sward, which sheep avoid, and to which the unusual compound epithet "greensour may properly be applied. Here we may not see the inevitableness of this alteration, though it may certainly have been warranted by some authority to which the corrector of the folio, 1632, was able to resort.

P. 76. We meet with changes of the received text in two consecutive lines of the continuation of the speech of Prospero, after Alonso, Gonzalo, Sebastian, Antonio, &c., have become "spell-stopped" in the magic circle. The reading of all the editions has been,

"Holy Gonzalo, honourable man,

Mine eyes, even sociable to the show of thine,
Fall fellowly drops."

The epithet "holy" is inapplicable to Gonzalo, while noble (substituted by the corrector of the folio, 1632) is on all accounts appropriate. In the "Winter's Tale" (Act V. Scene I.) Leontes tells Florizel, "You have a holy father," where the word seems equally out of place, and where the corrector, as in "the Tempest," has erased it, and written noble in its stead. In both these cases the copyist must have misheard; but the

second error in the same passage, "show" for flow, most probably arose out of the common mistake between the long s and the f. The manuscript-corrector gives the whole in these terms:

"Noble Gonzalo, honourable man,

Mine eyes, even sociable to the flow of thine,
Fall fellowly drops."

The eyes of Gonzalo were flowing with tears, and those of
Prospero wept in fellowship.

P. 77. In the same speech Prospero again addresses Gonzalo as

"O, good Gonzalo,

My true preserver, and a loyal sir

To him thou follow'st."

This is an uncommon, though by no means unprecedented, use of the word "sir;" and the fact is (according to the corrector of the folio, 1632) that it was a misprint for servant. In the manuscript used by the printer the word servant was probably abbreviated, and thus the error produced, the true reading being,—

"My true preserver and a loyal servant

To him thou follow'st."

P. 78. Prospero, in the words of the manuscript stagedirection, being Attired as Duke of Milan, presents himself before his astonished brother, after Gonzalo has prayed some heavenly power to guide them out of the "fearful country." Antonio, in the first instance, believes that the whole is a diabolical delusion, and, according to all editions, exclaims,

"Whe'r thou beest he, or no,

Or some enchanted trifle to abuse me,
As late I have been, I not know."

The word "trifle seems a most strange one to be employed in such a situation, and it reads like a misprint: the manuscript-corrector of the folio, 1632, informs us that it undoubtedly is so, and that the line in which it occurs ought to run,

"Or some enchanted devil to abuse me."

Sebastian just afterwards declares of Prospero, that "the devil speaks in him."

P. 80. To the printed stage-direction, Here Prospero discovers Ferdinand and Miranda playing at chess, the manuscript-corrector of the folio, 1632, adds a note, showing in what way, according to the simplicity of our early theatres, the lovers were disclosed to the audience: his words are, Draw curtain; so that Prospero drew a traverse at the back of the stage, and showed Ferdinand and Miranda at their game.

P. 84. Prospero describing Sycorax, in the presence of Caliban, tells Antonio,

"His mother was a witch; and one so strong,

That could control the moon, make flows and ebbs,
And deal in her command, without her power."

The words "without her power" have naturally occasioned considerable discussion, in which Malone hinted that Sycorax might act by a sort of "power of attorney" from the moon, while Steevens as strangely supposed, that "without her power" meant "with less general power." All difficulty, however, is at an end, when we find the manuscript-corrector of the folio, 1632, marking "without" as a misprint, and telling us that it ought to have been with all ;

"That could control the moon, make flows and ebbs,
And deal in her command with all her power:"

that is, Sycorax could "make flows and ebbs" matters in the command of the moon, with all the power exercised over the tides by the moon. The error of the press here is, we think, transparent.

THE TWO GENTLEMEN

OF

VERONA.

ACT I. SCENE I.

P. 92. The reading of the subsequent line has hitherto been,

""Tis true; for you are over boots in love;"

but the manuscript-corrector of the folio, 1632, has changed it to

""Tis true; but you are over boots in love;"

which seems more consistent with the course of the dialogue; for Proteus, remarking that Leander had been "more than over shoes in love" with Hero, Valentine answers, that Proteus was even more deeply in love than Leander: Proteus observes of the fable of Hero and Leander,

"That's a deep story of a deeper love,

For he was more than over shoes in love."

Valentine retorts :

""Tis true; but you are over boots in love."

"For," instead of but, was perhaps caught by the compositor from the preceding line.

The following change, lower in the page, seems hardly necessary, but it is not the only instance in which the manuscript-corrector of the folio, 1632, has converted the active into the passive participle: he altered

"Even so by love the young and tender wit

Is turn'd to folly, blasting in the bud,"

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