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It would control my dam's god, Setebos."- Act I., Scene 2. King James, in his work on "DÆMONOLOGY," informs us that an enchanter is one who commands the devil, while a witch serves him. Setebos was a frightful horned god of the Patagonians.

"Of his bones are coral made.” — Act I., Scene 2.

It would be a more correct and ugly English were we to read, "Of his bones is coral made." It is possible the letter s may have fallen out of the types of the early editions; and if so, we should read corals, which would be a less offensive change to the ear of our associations than to say, "His bones are into coral made."

"O, you wonder!

If you be maid or no?” — Act I., Scene 2.

In the passage quoted above, it is not improbable but that a pun was intended upon the word "maid," as though Ferdinand would ask if so divine a creature were made, like other mortals, or a pure spirit.

"They have changed eyes.” — Act I., Scene 2.

A beautiful figure, expressive of the mutual transposition of selflove, or transfer of personal identity, at sight of the beloved object.

"My foot my tutor!"-Act I., Scene 2.

Shall my heel teach my head?-Shall that which I tread upon, give me law?

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The entire substance of this passage is borrowed from Montaigne. See "FLORIO'S TRANSLATION," 1603.

"Trebles thee o'er."- Act II., Scene 1.

You may be thrice the man you are, if you heed the advice I shall give you. Or, should we understand Antonio to reproach Sebastian's levity, and say, that it requires thrice such a man to heed the serious advice he would give?

"She that dwells

Ten leagues beyond man's life."-Act II., Scene 1.

As Naples is by no means at any such wonderful distance from Tunis, this speech is quoted by Steevens as an instance of Shakspeare's 66 great ignorance of geography." His geographical errors are sufficiently numerous; but in the present instance, is it not probable that Antonio speaks in banter and purposely exaggerates?

"A chough of as deep chat."— Act II., Scene 1.

I could make a jackdaw talk as profoundly.

"If it were a kybe,

'T would put me to my slipper.”—Act II., Scene 1.

If conscience were a chilblain, it would mar my activity.

"Do hiss me into madness." - Act II., Scene 2. Caliban was bad enough by nature: no wonder that he never improved under such tormenting circumstances.

“A strange fish! Were I in England now," &c.—Act II., Scene 2. It would appear from this, that the "rage for foreigners," to the injury and neglect of our own countrymen, is not altogether a new reproach to the good sense and justice of the patronising portion of the public. The above passage also stands as a satire on the love of monstrosities and ridiculous or horrid sights.

"I have no long spoon." Act II., Scene 2.

I cannot reach both your mouths at once; besides, I don't like to come so near the devil. It also alludes to an old proverb, “A long spoon to eat with the devil;" and may be found in Chaucer, Tyrwhitt, &c.

"Well drawn, monster, in good sooth."— Act II., Scene 2. Caliban has just had another draught from Stephano's bottle of "celestial liquor," and Trinculo compliments him upon having taken so capital a "pull" or "draw."

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"Lifted up their noses,

As they smelt music."— Act IV., Scene 1.

This passage is a most accurate description of the effect produced upon colts by music. On first hearing even a trumpet, instead of being terrified, they will often advance and thrust their nose up the very mouth of the instrument, while it is blown, provided this be done with some consideration.

"Now is the jerkin under the line: now, jerkin, you are like to lose your hair."- Act IV., Scene 1.

Malone says, that goat's-hair jerkins, both plain and ornamented, formed part of the theatrical wardrobes of this period; and he sug gests, that in the present instance they were hung upon a hair line. Steevens thinks there is some gross allusion in the passage. Edwards says it refers to the loss of hair by fever on passing the equinoctial line! Did the sailors shave folks with an iron hoop in those days? Stephano was, however, drunk; half with wine, and half with his ideas of royalty.

-"And time

Goes upright with his carriage." -Act V., Scene 1. Time goes upright with his burden: all events move on rightly. "Ye elves of hills, brooks, standing lakes, and groves."

Act V., Scene 1. The original of this speech will be found in the speech of Medea in

Nothing can avert this doom but sorrowful repentance and a good Ovid:—“Auræque, et venti, montesque, amnesque, lacusque,” &c. life henceforward.

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Shakspeare availed himself of a free translation by Golding. Of this discovery, Warburton, Holt, Farmer, and Malone, make far more than it is worth. All the finer parts of the poetry belong to Shakspeare. He borrows a few words, and adds many ideas.

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SONGS IN THE "TEMPEST."

THE Songs in the "TEMPEST" have troubled some of the learned commentators, and occasioned many remarks which were nothing to the purpose. Dr. Johnson apparently took up his pen to indite a grave reproof upon those who despised Ariel's songs, but concluded his sentence by coinciding with the objections. He observes, that " Ariel's lays (which have been condemned by Gildon as trifling, and defended, not very successfully, by Dr. Warburton), however seasonable and efficacious, must be allowed to be of no supernatural dignity or elegance; they express nothing great, nor reveal anything above mortal discovery." This is all very true, very wise, and quite inapplicable. Neither dignity nor elegance (in the scholastic sense in which the term is evidently used) is the attribute of any such elfish sprites as Ariel. How they could reveal anything above mortal discovery, or be intelligible to us if they did, we shall not enquire. All the songs in the "TEMPEST are admirably characteristic of the different singers. The coarse, sea doggrel of Stephano is" of the earth, earthy," like his nature; and of the sea, scummy, like his circumstances: the songs of Ariel are those of a quaint and beautiful creature, who lives floating about in the air, or sits in a tree by night, and mimics the wind's echoes when they seem to bark or crow "dispersedly" (some of Ariel's songs are as though a bird warbled them): and the elated chant of Caliban may be regarded as an extraordinary ebullition of the rudimentary or lowest condition of humanity; while his repetition of parts of words conveys a clear impression of the aboriginal chorus, and how it first arose among the savage populations of the world.

R. H. H.

TWO GENTLEMEN OF VERONA.

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