V.i.247 (96,4)
[at pick'd leisure
(Which shall be shortly) single I'll resolve you,
(Which to you shall seem probable) of every
These happen'd accidents]
These words seem, at the first view, to have no use; some lines are perhaps lost with which they were connected. Or we may explain them thus: I will resolve you, by yourself, which method, when you hear the story [of Anthonio's and Sebastian's plot] shall seem probable, that is, shall deserve your approbation.
V.i.267 (97,5)
[Mark but the badges of these men, my lords,
Then say, if they be true]
That is, honest. A true man is, in the language of that time, opposed to a thief. The sense is, Mark what these men wear, and say if they are honest.
Epilogue.10 (100,7) With the help of your good hands] By your applause, by clapping hands. (1773)
General Observation (100) It is observed of The Tempest, that its plan is regular; this the author of The Revisal thinks, what I think too, an accidental effect of the story, not intended or regarded by our author. But whatever might be Shakespeare's intention in forming or adopting the plot, he has made it instrumental to the production of many characters, diversified with boundless invention, and preserved with profound skill in nature, extensive knowledge of opinions, and accurate observation of life. 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 operation of magick, 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. (1773)
THE TWO GENTLEMEN OF VERONA
It is observable (I know not for what cause) that the stile of this comedy is less figurative, and more natural and unaffected than the greater part of this author's, though supposed to be one of the first he wrote. [Pope.] To this observation of Mr. Pope, which is very just, Mr. Theobald has added, that this is one of Shakespeare's worst plays, and is less corrupted than any other. Mr. Upton peremptorily determines, that if any proof can be drawn from manner and stile, this play must be sent packing, and seek for its parent elsewhere. How otherwise, says he, do painters distinguish copies from originals, and have not authors their peculiar stile and manner from which a true critic can form as unerring judgment as a painter? I am afraid this illustration of a critic's science will not prove what is desired. A painter knows a copy from an original by rules somewhat resembling these by which critics know a translation, which if it be literal, and literal it must be to resemble the copy of a picture, will be easily distinguished. Copies are known from originals, even when the painter copies his own picture; so if an author should literally translate his work, he would lose the manner of an original.