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LITERARY AND HISTORICAL NOTICE.
THE supernatural agency which forms so leading a feature in this fanciful play, is built (according to Mr. Warton) on the peculiar tenets of the Rosicrucian philosophy; the name of Ariel being derived from the Talmudistic mysteries with which the more learned Jews connected that science. It was one of Shakspeare's latest productions, and probably founded on some Italian novel. Warburton considers it 06 one of the noblest efforts of his sublime and amazing imagination:" a negative species of praise, since the pleasure which it creates arises from a boundless diversity of invention, from a continued succession of supernatural occurrences, devoid of application and destitute of moral, because the end is ootained by means beyond the ordinary compass of belief. In representation it is greatly dependent on the scenery and mechanism. The language, however, is throughout most forcible, and much of the sentiment chaste and magnificent. Caliban is an original creation; whimsical, monstrous, and impressive: but that men, saved as it were by miracle from death, should immediately plot the destruction of their companions, to obtain dominions which there was no probability of their aver re-visiting, is a suggestion at variance with nature, and inconsistent with the spirit of the piece. Johnson says of The Tempest---“In a single drama are here exhibited princes, courtiers, and sailors, all speaking in their real characters. There is the agency of airy spirits, and of an earthly goblin. The operations of magic, the tumults of a storm, the adventures of a desert island, the native effusion of untaught affection, the punishment of guilt, and the final happiness of the pair for whom our passions and reason are equally interested."
ALONSO, King of Naples.
SEBASTIAN, his Brother.
Master of a Ship, Boatswain, and Mariners.
PROSPERO, the rightful Duke of Milan.
ANTONIO, his Brother, the usurping Duke of ARIEL, an Airy Spirit.
FRANCISCO, } Lords.
FERDINAND, Son to the King of Naples.
CALIBAN, a savage and deformed Slave.
TRINCULO, a Jester.
STEPHANO, a drunken Butler.
Other Spirits attending on PROSPERO.
SCENE-The Sea with a ship: afterwards an uninhabited Island.
Gon. Nay, good, be patient. Boats. When the sea is. Hence! these roarers for the name of king? silence: trouble us not.
To cabin :
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 bap,-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
Gon. He'll be hanged yet;
[A confused noise within.] Mercy on us. We split, we split! Farewell, my wife and children!-Farewell, brother!We split, we split, we split.
Ant. Let's all sink with the king. [Erit. Seb. Let's take leave of him. Exit. Gon. Now would I give a thousand furlongs of sea, for an acre of barren ground; long heath, brown furze, any thing: The wills above be done! but I would fain die a dry death.
[Exit. SCENE II.-The Island: before the Cell of PROSPERO.
Enter PROSPERO and MIRANDA.
Mira. If by your art, my dearest father, you
Put the wild waters in this roar, allay them:
But that the sea, mounting to the welkin's
Dashes the fire out. Oh! I have suffer'd
Dash'd all to pieces, Oh! the cry did knock
Had I been any god of power, I would
Have sunk the sea within the earth, or e'er t
The freighting souls within her..
Mira. More to know
Did never meddle with my thoughts.
I should inform thee further. Lend thy hand,
spectacle of the wreck, which
The very virtue of compassion in thee
For thou must now know further.
Begun to tell me what I am; but stopp'd
Pro. The hour's now come;
A time before we came unto this cell?
I do not think thou can'st; for then thou wast
Which is from my remembrance! Please you | Of homage, and I know not how much tri
Pro. My brother, and thy uncle, call'd An-
I pray thee mark me,-that a brother should
Should presently extirpate me and mine
The gates of Milan; and, i' the dead of dark-
And Prospero the prime duke; being so re- The ministers for the purpose hurried thence
In dignity, and, for the liberal arts,
And to my state grew stranger, being trans-
And wrapt in secret studies. Thy false uncle-
Mira. Sir, most heedfully.
how to grant
How to deny them; whom to advance, and
To trash for over-topping: new created
Of officer and office, set all hearts
To what tune pleased his ear; that now he was
I pray thee, mark me.
Mira. O good Sir, I do.
To closeness, and the bettering of my mind
Awak'd an evil nature and my trust,
A falsehood, in its contrary as great
Me and thy crying self.
Mira, Alack, for pity!
1, not rememb'ring how I cried out then,
Pro. Hear a little further,
And then I'll bring thee to the present busi
(So dear the love my people bore me) nor set
A rotten carcass of a boat, not rigg'd,
As my trust was which had, indeed, no limit,
Not only with what my revenue yielded,
But what my power might else exact,-like
Who, having, unto truth, by telling of it,
Mira. Your tale, Sir, would cure deafness.
And him he play'd it for, needs he will be
He thinks me now incapable: confederates
To give him annual tribute, do him homage;