[16] See Dryden in the Epistle Dedicatory to his Rival Ladies.—­Ed.

[17] It appears, from the induction of Ben Jonson’s “Bartholomew Fair,”
     to have been acted before the year 1590.—­STEEVENS.

[18] The errors of the promoter’s books of the present day excite the
     violent invective of Mr. Steevens, in his notes on Johnson’s
     Preface.—­Ed.

[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.