Hides not his visage from our cottage, but
Looks on alike.—Will't please you, sir, be gone? (to Florizel.
I told you, what would come of this: 'Beseech you,
Of your own state take care: this dream of mine,—
Being now awake, I'll queen it no inch further,
But milk my ewes, and weep."[500:A]
The comic characters of this play, which are nearly confined to the last two acts, form a striking contrast and relief to the native delicacy and elegance of manners which distinguish every sentiment and action of the modest and unaffected Perdita; her reputed father and brother and the witty rogue Autolycus being drawn with those strong but natural strokes of broad humour which Shakspeare delighted to display in his characterisation of the lower orders of society. That "snapper up of unconsidered trifles," his frolic pedlar, is one of the most entertaining specimens of wicked ingenuity that want and opportunity ever generated.
33. The Tempest: 1611. The dates assigned by the two chronologers, for the composition of this drama, seem to be inferred from premises highly inconclusive and improbable. Mr. Malone conceives it to have been written in 1612, because its title appears to him to have been derived from the circumstance of a dreadful tempest occurring in the October, November, and December of the year 1612; and Mr. Chalmers has exchanged this epoch for 1613, because there happened "a great tempest of thunder and lightning, on Christmas day, 1612."[500:B] "This intimation," he subjoins, "necessarily carries the writing of The Tempest into the subsequent year, since there is little probability, that our poet would write this enchanting drama, in the midst of the tempest, which overthrew so many mansions, and wrecked so many ships."[500:C]
It is very extraordinary that, when all the circumstances which could lead to the suggestion of the title of The Tempest, are to be found in books, to which, from his allusions, we know our author must have had recourse, and in events which took place, during the two years immediately preceding the period that we have fixed upon, and at the very spot referred to in the play, these critics should have imagined that a series of stormy weather occurring at home, or a single storm on Christmas day, could have operated with the poet in his choice of a name.
It is scarcely possible to avoid smiling at the objection which Mr. Chalmers so seriously brings forward against the conjecture of his predecessor, founded on the improbability of the poet's writing his Tempest in the midst of a tempest; a mode of refutation which could only have been adopted one would think under the supposition, that Shakspeare, during these three stormy months, had wanted the protection of a roof. The inference, however, which he draws from his own storm, on Christmas day, namely, that The Tempest must necessarily have been written in 1613, is still less tenable than the position of Mr. Malone; for we are told, on the authority of Mr. Vertue's Manuscripts, "that the Tempest was acted by John Heminge and the rest of the King's company, before Prince Charles, the Lady Elizabeth, and the Prince Palatine elector, in the beginning of the year 1613."[501:A] Now we learn from Wilson the historian, that the Prince Palatine was married to the Lady Elizabeth in February, 1613, her brother Prince Charles leading her to church; and on this occasion, no doubt, it was, that The Tempest, having been received the preceding season with great favour and popularity, was re-performed; for Wilson tells us, that in consequence of these nuptials, "the feastings, maskings, and other Royall formalities, were as troublesome ('tis presum'd) to the Lovers, as the relation of