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To the perpetual wink for aye * might put
Thy case, dear friend,
O, but one word.
[They converse apart.
Musick. Re-enter Ariel, invisible.
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.
I am come
This ancient morsel,] For morsel Dr. Warburton reads ancient
my dear morsel, thy mistress?” STEEVENS. -- take fuggeftion,] i. e. Receive any hint of villainy.
(For else his project dies,) to keep them living.s
[Sings in Gonzalo's ear.
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 fignification occurs in The Two Gen. ileman of Verona:
« Love bad me swear, and love bids me forswear:
“ Teach me, thy tempted subject, to excuse it.” Henley, -- to keep them living. ] By them, as the text now stands, Gon. zalo and Alonso must be understood. Dr. Johnson objects 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 has 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 fingular number, is to be met with in almost every page of the first folio. So, to confine myfelf to the play before us, edit. 1623:
My old bones akes." Again, ibid:
At this hour “ Lies at my mercy all 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 folicitous for the preservation of Alonfo and Gonzalo, very naturally styles them both his friends, without adverting to the guilt of the former. Toward the success of Prof. pero's design, their lives were alike neceffary,
While you here do snoring lie,
His time doth take :
Ant. Then let us both be sudden.
[They wake. Alon. Why, how now, ho! awake! Why are you drawn?
What's the matter?
I heard nothing.
Heard you this, Gonzalo?
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, fufficiently 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. drawn?] Having your swords drawn. So, in Romea and Juliet: What, art thou drawn among these heartless hinds ?”
I shak'd you, fir, and cry'd; as mine eyes open'd,
further search For my poor son.
Gon. Heavens keep him from these beasts! For he is, sure, i'the island.
ALON. Ari. Prospero my lord shall know what I have done:
[Aside. So, king, go safely on to seek thy fon. [Exeunt.
Another part of the island.
A noise of thunder heard.
Cal. All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall, and make
him By inch-meal a disease! His spirits hear me, And yet I needs must curse. But they'll nor pinch, Fright me with urchin shows, pitch me i' the mire,
? That's 'verity: 'Best stand upon our guard;] The old copy reads
“ That's verily: 'Tis best we stand upon our guard.” Mr. Pope very properly changed verily to verity: and as the verse would be too long by a foot, if the words 'tis and we were retained, I have discarded them in favour of an elliptical phrase which occurs in our ancient comedies, as well as in our author's Cymbeline, Act III. fc, iïi : “ Best draw my sword;" i. e. it were best to draw it.
Nor lead me, like a fire-brand, in the dark
Here comes a spirit of his; and to torment me, For bringing wood in slowly: I'll fall flat; Perchance, he will not mind me.
Trin. Here's neither bush nor shrub, to bear off any weather at all, and another storm brewing; I hear it sing i' the wind: yond' fame black cloud, yond' huge one, looks like a foul bumbard : that
- that moe, &c.] i. e, make mouths. So, in the old verfion of the Psalms :
making moes at me.” Again, in the Mystery of Candlemas-Day, 1512:
“ And make them to lye and mowe like an ape." Again, in Sidney's Arcadia, Book III:
“ Ape great thing gave, though he did mowing stand,
“ The instrument of instruments, the hand.” Steevens. So, in Nashe's Apologie of Pierce Penniless, 1593:
found nobody at home but an ape, that fate in the porch and made mops and mows at him.” MALONE. 8 Their pricks--] i. e. prickles. STEVENS.
wound with adders,] Enwrapped by adders wound or twisted about me. JOHNSON.
2 - looks like a foul bumbard-] This term again occurs in The First Part of Henry IV.“ - that swoln parcel of dropfies, that huge bumbard of fack” And again, in Henry VIII.“ And here you lie baiting of bumbards, when ye should do service." By these several passages, 'tis plain, the word meant a large vessel for holding drink, as well as the piece of ordnance fo called, THEOBALD,