[19] This assertion is contradicted by Steevens and Malone, as regards the second edition 1632. The former editor says, that it has the advantage of various readings which are not merely such as reiteration of copies will produce. The curious examiner of Shakespeare's text, who possesses the first of these folio editions, ought not to be unfurnished with the second. See Malone's List of Early Editions in his Shakespeare, ii. 656.—Ed.
[20] It is extraordinary that this gentleman should attempt so voluminous a work, as the Revisal of Shakespeare's text, when he tells us in his preface, "he was not so fortunate as to be furnished with either of the folio editions, much less any of the ancient quartos: and even Sir Thomas Hanmer's performance was known to him only by Dr. Warburton's representation."—FARMER.
[21] Republished by him in 1748, after Dr. Warburton's edition, with alterations, &c.—STEEVENS.
[22] John Andreas. He was secretary to the Vatican library during the papacies of Paul the second and Sixtus the fourth. By the former, he was employed to superintend such works as were to be multiplied by the new art of printing, at that time brought into Rome. He published Herodotus, Strabo, Livy, Aulus Gellius, &c. His schoolfellow, Cardinal de Cusa, procured him the bishopric of Arcia, a province in Corsica; and Paul the second afterwards appointed him to that of Aleria, in the same island, where he died in 1493. See Fabric. Bibl. Lat. iii. 894, and Steevens, in Malone's Shak. i. 106.
[23] See this assertion refuted by examples in a former note.—Ed.
GENERAL OBSERVATIONS ON THE PLAYS OF SHAKESPEARE.
TEMPEST.
It is observed of The Tempest, that its plan is regular; this the author of The Revisal[1] 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 operations 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.
TWO GENTLEMEN OF VERONA.
In this play there is a strange mixture of knowledge and ignorance, of care and negligence. The versification is often excellent, the allusions are learned and just; but the author conveys his heroes by sea from one inland town to another in the same country; he places the emperour at Milan, and sends his young men to attend him, but never mentions him more; he makes Protheus, after an interview with Silvia, say he has only seen her picture;[2] and, if we may credit the old copies, he has, by mistaking places, left his scenery inextricable. The reason of all this confusion seems to be, that he took his story from a novel, which he sometimes followed, and sometimes forsook, sometimes remembered, and sometimes forgot.