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Than Prospero, master of a full poor cell,
And thy no greater father.
MIRA.

More to know
Did never meddle with my thoughts."
Pro.

'Tis time I should inform thee further. Lend thy hand, And pluck my magick garment from me.-So;

[Lays down bis mantle. Lie there my art. & Wipe thou thine eyes; have

comfort. The direful spectacle of the wreck, which touch'd The very virtue of compassion in thee, I have with such provision in mine art So safely order'd, that there is no soul —?

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my

full poor cell,} i. e. a cell in a great degree of poverty. So in Antony and Cleopatra :-“ I am full forry."

STEEVENS. ? Dil never meddle with my thoughts.] i. e. mix with them. To meddle is often used, with this sense, by Chaucer. Hence the subtantive medley. The modern and familiar phrase by which that of Miranda may be explained, is- - never entered my thoughts never came into head. STE EVENS.

It should rather mean to interfere, to trouble, to busy itself, as still used in the North, e. g. Don't meddle with me; i.e. Let me alone ; Don't moleft me. Ritson. See Howell's Dict. 1660, in v. to meddle; se mesler de.”

MALONE. * Lye there my art.] Sir W. Cecil, lord Burleigh, lord high treasurer, &c. in the reign of queen Elizabeth, when he put off his gown at night, used to say, Lie there, lord treasurer. Fuller's Holy State, p. 257. STEEVENS.

virtue of compassion--] Virtue; the most efficacious part, the energetic quality; in a like sense we say, The virtue of a plant is in the extract. JOHNSON.

that there is no soul —] Thus the old editions read; but this is apparentiy defective. Mr. Rowe, and after him Dr. Warburton, read that there is no foul loft, without any notice of the variation. Mr. Theobald substitutes no foil, and Mr. Pope follows him. To come so near the right, and yet to miss it, is

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No, not so much perdition as an hair,
Betid to any creature in the vessels
Which thou heard'st cry, which thou saw'st sink.

Sit down;
For thou must now know further.
MIRA.

You have often
Begun to tell me what I am ; but stopp'd
And left me to a bootless inquisition;
Concluding, Stay, not yet.
PRO.

The hour's now come; The very minute bids thee ope thine ear; Obey, and be attentive. Can’st thou remember A time before we came unto this cell? I do not think thou can’ft; for then thou wast not Out three years old.* MIRA.

Certainly, fir, I can.

unlucky: the author probably wrote no foil, no ftain, no spot: for so Ariel tells,

Not a hair perish'd;
On their sustaining garments not a blemish,

But fresher than before. And Gonzalo, The rarity of it is, that our garments being drench'd in the sea, keep notwithstanding their freshness and glofjes. Of this emendation I find that the author of notes on The Tempeft had a glimpse, but could not keep it. Johnson.

no foul -] Such interruptions are not uncommon to Shakspeare. "He sometimes begins à sentence, and before he concludes it, entirely changes its construction, because another, more forcible, occurs. As this change frequently happens in conversation, it may be suffered to pass uncensured in the language of the stage.

STEEVENS. not so much perdition as an hair, Betid to any creature in the vessel ] Had Shakspeare in his mind St. Paul's consolatory speech to the ship's company, where he assures them that though they were to suffer shipwreck “not an hair fbould fall from the head of any of them." Acts, xxvii. 34. Ariel afterwards says, Not a hair perishid.” Holt White.

4 Out three years old.] i. e. Quite three years old, three years old full-out, complete.

So, in the 4th act: “ And be a boy right out," ŞTEEVENS.

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Pro. By what? by any other house, or person? Of any thing the image tell me, that Hath kept with thy remembrance. MIRA.

Tis far off; And rather like a dream, than an assurance That

my

remembrance warrants: Had I not Four or five women once, that tended me? Pro. Thou had’st, and more, Miranda: But

how is it, That this lives in thy mind? What seest thou else In the dark backward and abysm of time? If thou remember ft aught, ere thou cam'ft here, How thou cam’st here, thou may’st. MIRA.

But that I do not. Pro. 'Twelve years since, Miranda, twelve years

since,
Thy father was the duke of Milan, and
A prince of power.
MIRA.

Sir, are not you my father?
Pro. Thy mother was a piece of virtue, and
She said - thou wast my daughter; and thy father
Was duke of Milan; and his only heir
A princess;

;- no worse ifsued.6

4 abysm of time?] i. e. abyss.

This method of spelling the word, is common to other ancient writers. They took it from the French abysme, now written abime. So, in Heywood's Brazen Age, 1613:

“ And chase him from the deep abysms below.” Steevens. s Twelve years since, Miranda, twelve years fence,] Years, in the first instance, is used as a disfyllable, in the fecond as a monosyllable. But this, I believe, is a licence peculiar to the prosody of Shakspeare. ST E EVENS.

A princess; —no worse ifsued. The old copy reads“ And princess." For the trivial change in the text I am answerable. íflued is defcended. So, in Greene's Card of Fancy, 1608 : “ For I am by birth a gentleman, and ifued of such parents," &c. STEVENS,

Mira.

O the heavens ! What foul play had we, that we came from thence? Or blessed was’t, we did? Pro.

Both, both, my girl : By foul play, as thou say’st, were we heav'd thence; But blessedly holp hither. MIRA.

O, my heart bleeds To think o'the teen' that I have turn'd you to, Which is from my remembrance! Please you,

further. Pro. My brother, and thy uncle, callid An

tonio,I pray thee, mark me,—that a brother should Be so perfidious !—he whom, next thyself, Of all the world I lov'd, and to him put The manage of my state; as, at that time, Through all the signiories it was the first, And Prospero the prime duke; being so reputed In dignity, and, for the liberal arts, Without a parallel; those being all my study, The

government I cast upon my brother, And to my state grew stranger, being transported, And rapt in secret studies. Thy false uncleDoft thou attend me? MIRA.

Sir, most heedfully. Pro. Being once perfected how to grant suits, How to deny them; whom to advance, and whom To trash for over-topping;' new created

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? teen -] is forrow, grief, trouble. So, in Romeo and Juliet:

to my teen be it fpoken.” Steevens. ! - whom to advance, and whom-] The old copy has who in both places. Corrected by the editor of the second folio.

MALONE. To traso for, over-topping;] To trash, as Dr. Warburton observes, is to cut away the superfluities. This word I have met with in

The creatures that were mine; I say, or chang'd

them,

books containing directions for gardeners, published in the time of queen Elizabeth.

The present explanation may be countenanced by the following passage in Warner's Albion's England, 1602, B. X. ch. 57:

“ Who suffreth none by might, by wealth or blood to overtopp,

“ Himself gives all preferment, and whom lifteth him doth lop." Again in our author's K. Richard II :

“ Go thou, and, like an executioner,
“ Cut off the heads of too-fast-growing sprays

“ 'That look too lofty in our commonwealth.” Mr. Warton's note, however, on- -“ trash for his quick hunting,” in the second act of Othello, leaves my interpretation of this passage fomewhat disputable.

Mr. M. Mafon obferves that to trafb for overtopping, “ may mear to lop them, because they did overtop, or in order to prevent them from overtopping. So Lucetta, in the second scene of The Two Gentlemen of Verona, says

“I was taken up for laying them down,

Yet here they shall not lie, for catching cold.”. That is, left they should catch cold. See Mr. M. Mason's note on this paffage.

In another place (a note on Othello) Mr. M. Mason observes that Shakspeare had probably in view, when he wrote the passage before us, “ the manner in which Tarquin conveyed to Sextus his advice to destroy the principal citizens of Gabii, by striking off, in the presence of his messengers, the heads of all the talleit poppies, as he walked with them in his garden." STEEVENS.

I think this phrase means- -““ to correct for too much haughtinefs or overbearing." It is used by sportsmen in the North when they correct a dog for misbehaviour in pursuing the game. This explanation is warranted by the following passage in Othello, Act II. sc. i:

“ If this poor trash of Venice, whom I trash

“ For his quick hunting.' It was not till after I had made this remark, that I saw Mr. Warton's note on the above lines in Oihello, which corroborates it.

DOUCE.

A trash is a term ftill in use among hunters, to denote a piece of leather, couples, or any other weight faftened round the neck of a dog, when his speed is superior to the rest of the pack; i. e.

en he over-tops them, when he hunts too quick, C.

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