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He's gone.


O, out of that no hope, What great hope have you! no hope, that way, is, Another way, so high an hope, that even Ambition cannot pierce a wink beyond,5 But doubts discovery there. Will you grant, with me, That Ferdinand is drown'd?

Seb. Ant.

Then, tell me,
Who's the next heir of Naples?

Ant. She that is queen of Tunis; she that dwells
Ten leagues beyond man's life;6 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, "from" whom 8



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proceeded, that at present, the surest canon of criticism is, Preferatur lectio brevior.P. 149, 150.

Though I once expressed a different opinion, I am now well convinced, that the metre of Shakspeare's plays, had, originally, no other irregularity than was occasioned by an accidental use of hemistichs. When we find the smoothest series of lines among our earliest dramatic writers (who could fairly boast of no other requisites for poetry) are we to expect less polished versification from Shakspeare? Steevens.

a wink beyond,] That this is the utmost extent of the prospect of ambition, the point where the eye can pass no far. ther, and where objects lose their distinctness, so that what is there discovered, is faint, obscure, and doubtful. Johnson.

beyond man's life;] i. e. at a greater distance than the life of man is long enough to reach. Steevens.

she that from Naples Can have no note, &c.] Note (as Mr. Malone observes) is notice, or information.

Shakspeare's great ignorance of geography is not more conspicuous in any instance than in this, where he supposes Tunis and Naples to have been at such an immeasurable distance from each other. He may, however, be countenanced, by Apollonius Rhodius, who says, that both the Rhone and Po meet in one, and discharge themselves into the gulph of Venice ; and by Æschylus, who has placed the river Eridanus in Spain. Steevens.

she, from whom -] i. e. in coming from whom. The old copy has—she that from, &c. which cannot be right. The compositor's eye probably glanced on a preceding line, “ she that from Naples." The emendation was made by Mr. Rowe. She for when

Malone whofe account,


nueterin with whose marriage we were fea. swallowed


We were all sea-swallow'd, though some cast again;'
And, by that, destin'di to perform an act,
Whereof what's past is prologue; what to come,
In yours and my discharge.?

What stuff is this?—How say you?
'Tis true, my brother's daughter's queen of Tunis;
So is she heir of Naples; 'twixt which regions
There is some space.

A space, whose every cubit
Seems to cry out, How shall that Claribel
it Measureusback to Naples?-Keep in Tunis, 3

And let Sebastian wake -Say, this were death,
That now hath seiz'd them; why, they were no worse
Than now they are: There be, that can rule Naples,
As well as he that sleeps; lords, that can prate
As amply, and unnecessarily,
As this Gonzalo; I myself could make
A chough* of as deep chat. O, that you bore
The mind that I do! what a sleep were this
For your advancement! Do you understand me?

Seb. Methinks, I do.

And how does your content
Tender your own good fortune?


though some cast again;] Cast is here used in the same sense as in Macbeth, Act II. sc. iii: “ -though he took my legs from me, I made a shift to cast him.” Steevens.

1 And, by that, destin'd -] It is a common plea of wickedness to call temptation destiny. Johnson.

The late Dr. Musgrave very reasonably proposed to substitute -destin'd for-destiny. As the construction of the passage is made easier by this slight change, I have adopted it. Steevens.

2 In yours and my discharge.] i. e. depends on what you and I are to perform. Steevens.

- keep in Tunis,] There is in this passage a propriety lost, which a slight alteration will restore:

Sleep in Tunis, And let Sebastian wake.!Johnson. The old reading is sufficiently explicable. Claribel (says he) keep where thou art, and allow Sebastian time to awaken those senses, by the help of which he may perceive the advantage which now presents itself. Steevens.

4 A chough —] Is a bird of the jack-daw kind. So, in Macbeth, Act III. sc. iv:

“ By magot-pies, and choughs, and rooks,” &c. Steevens.



I remember,
You did supplant your brother Prospero.

True :
And, look, how well my garments sit upon me;
Much feater than before: My brother's servants
Were then my fellows, now they are my men.

Seb. But, for your conscience

Ant. Ay, sir; where lies that? if it were a kybe, 'Twould put me to my slipper; But I feel not This deity in my bosom: twenty consciences, That stand 'twixt me and Milan, candied be they, And melt, ere they molest!5 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, Can lay to bed for ever:? whiles you, doing thus,

5 And melt, ere they molest !] I had rather read

Would melt, ere they molest. i. e. Twenty consciences, such as stand between me and my hopes, though they were congealed, would melt before they could molest me, or prevent the execution of my purposes. Johnson.

Let twenty consciences be first congealed, and then dissolved, ere they molest me, or prevent me from executing my purposes.

Malone. If the interpretation of Johnson and Malone is just, and is certainly as intelligible as or ; but I can see no reasonable meaning in this interpretation. It amounts to nothing more, as thus interpreted, than My conscience must melt and become softer than it is, before it molests me; which is an insipidity unworthy of the Poet. I would read " Candy'd be they, or melt;" and the expression then has spirit and propriety. Had I twenty consciences, says An. tonio, they might be hot or cold for me; they should not give me the smallest trouble.- Edinburgh Magazine, Nov. 1786. Steevens. 6 No better than the earth he lies upon,] So, in Julius Cæsar:

at Pompey's basis lies along,
No worthier than the dust." Steevens.
7 If he were that, which now he's like; whom I,

With this obedient steel, three inches of it,
Gan lay to bed, &c.] The old copy reads-

“ If he were that which now he's like, that's dead ;
“ Whom I, with this obedient steel, three inches of it,

“ Can lay to bed,” &c. The words that's dead” (as Dr. Farmer observes to me) are evidently a gloss, or marginal note, which had found its way into the text. Such a supplement is useless to the speaker's meaning, and one of the verses becomes redundant by its insertion.


To the perpetual wink for aye might put
This ancient morsel,' this sir Prudence, who
Should not upbraid our course. For all the rest,
They'll take suggestion, as a cat laps milk;1
They'll tell the clock to any business, that

befits the hour.

Thy case, dear friend,
Shall be my precedent; as thou got'st Milan,
I'll come by Naples. Draw thy sword: one stroke
Shall free thee from the tribute, which thou pay’st;
And I the king shall love thee.

Draw together:
And when I rear my hand, do you the like,
To fall it on Gonzalo.

O, but one word.

[They converse apart. I came henn] Music. Re-enter ARIEL, invisible.

Ari. My master through his art foresees the danger That these, his friends, are in; and sends me forth, (For else his project dies,) to keep them living. 2

[Sings in Gonzalo's ear.



- for aye - ] i. e. for ever. So, in K. Lear:

I am come “ To bid my king and master aye good night.” Steevens. 9 This ancient morsel,] For morsel, Dr. Warburton readsancient moral, very elegantly and judiciously; yet I know not whether the author might not write morsel, as we say a piece of a man. Johnson. So, in Measure for Measure:

“ How doth my dear morsel, thy mistress ?” Steevens.
take suggestion, i. e. Receive any hint of villainy.

Fohnson. So, in Macbeth, Act I. sc. ii:

“ If good, why do I yield to that suggestion

“ Whose horrid image,” &c. Steevens. They'll take suggestion, as a cat laps milk;] That is, will adopt, and bear witness to, any tale you shall invent; you may suborn them as evidences to clear you from all suspicion of having mur. thered the king. A similar signification occurs in The Two Gentlemen of Verona:

• Love bad me swear, and love bids me forswear:
“O sweet suggesting love, if thou hast sinn'd,
“ Teach me, thy tempted subject, to excuse it.Henley.

to keep them living.] By them, as the text now stands, Gonzalo and Alonso must be understood. Dr. Johnson objects


While you here do snoring lie,
Open-ey'd conspiracy

His time doth take :
If of life you keep a care,
Shake off slumber, and beware :

Awake! Awake!
Ant. Then let us both be sudden.
Gon. Now, good angels, preserve the king !

[They wake.

very justly to this passage. “ As it stands, says he, at present, the sense is this. He sees your danger, and will therefore save them.He therefore would read_" That these his friends are in.” The confusion has, I think, arisen from the omission of a single letter. Our author, I believe, wrote

and sends me forth, “ For else his projects dies, to keep them living." i. e. he bas sent me forth, to keep his projects alive, which else would be destroyed, by the murder of his friend, Gonzalo.--The opposition between the life and death of a project appears to me much in Shakspeare's manner. So, in Much Ado about Nothing : “What life is in that, to be the death of this marriage ?"-The plural noun joined to a verb in the singular number, is to be met with in almost every page of the first folio. So, to confine myself to the play before us, edit. 1623:

My old bones akes." Again, ibid:

At this hour Lies at my mercy


my enemies." Again, ibid:

“ His tears runs down his beard-." Again :

“ What cares these roarers for the name of king." It was the common language of the time; and ought to be corrected, as, indeed, it generally has been in the modern editions of our author, by changing the number of the verb. Thus, in the present instance we should read-For else his projects die, &c. Malone.

I have received Dr. Johnson's amendment. Ariel, finding that Prospero was equally solicitous for the preservation of Alonso and Gonzalo, very naturally styles them both his friends, without adverting to the guilt of the former. Toward the success of Prospero's design, their lives were alike necessary.

Mr. Henley says, that “ By them are meant Sebastian and Antonio. The project of Prospero, which depended upon Ariel's keeping them alive, may be seen, Act III.”

The song of Ariel, however, sufficiently points out which were the immediate objects of his protection. He cannot be supposed to have any reference to what happens in the last scene of the next Act. Steevens.

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