Note return to page 1 *Though ludicrous characters appear very incompatible with tragedy, yet the mob, in this historical piece, are natural, justifiable, and exceedingly well supported; several characters, to reduce an enormous multiplicity and insignificance of some, are judiciously blended with others; particularly those of Flavius and Marullus, in the first scene, are thrown into Casca and Decius Brutus.

Note return to page 2 *This speech is a noble and very emphatic reproof to the inconsistent fluctuation of popular applause, usually begot by prejudice, and guided by whim.

Note return to page 3 *Cæsar's contemptuous reply to the soothsayer, bespeaks good sense and suitable spirit; Julius should be supported by a bold, martial figure, with graceful countenance, and dignified deportment; full, distinct, manly utterance.

Note return to page 4 †In this conversation between Brutus and Cassius, we perceive the latter, as a deep politician, most cautiously touching the pulse of his undisguised friend's noble feelings; to do their characters justice, Brutus should exhibit a striking consequence, though not a weightiness of figure; placid, yet expressive features, with a round, flexible, declamatory voice, rather composed of medium and lower tones, than those of softer nature: Cassius should possess great spirit, volubility, and power of voice; slenderness of figure seems necessary with peevish features.

Note return to page 5 *This remark is beautiful.

Note return to page 6 *Tho' this speech of Cassius is unusually, and perhaps blameably long; yet there is such an exquisite variety of expression and richness of description, that the actor must be very deficient of capability, who does not entertain, if not strike, in it; however we think attention would be greatly strengthened, and the actor's powers much relieved, if a couple of lines were given to Brutus, after these words “Did I the tired Cæsar.”

Note return to page 7 †Infernal—better than eternal.

Note return to page 8 *There are four lines and an half of the original, succeeding this, transposed judiciously to another of Brutus's speeches, four pages further on.

Note return to page 9 *There is much discernment and dignity in this speech; though the rule of physiognomy does not always stand good, nor does an abstraction from amusements always mark a discontented spirit, yet they are in general very shrewd marks.

Note return to page 10 †A rough, sensible bluntness of expression seems the leading requisite for Casca; his description of the treatment Cæsar met with from the mob, is cynically and nervously pleasant.

Note return to page 11 *This is not the only place in this play where Shakespeare endeavours to realize his scenes, by making the characters allude to stage action.

Note return to page 12 *Here the transposed lines come in advantageously, for the actor's going off.

Note return to page 13 †It is well conceived to end the first act with Cassius's soliloquy, as it otherwise must be very tedious. The first act has sufficient business and that of an important nature, the characters are unfolded in a masterly manner, the design of the plot is well produced, the sentiments are equal to the subject, and the language keeps the pace with them.

Note return to page 14 *Though the second act generally begins here, yet as omens and prodigies are too much insisted upon, in this play; we think it would commence much better with Cassius and Casca meeting.

Note return to page 15 *If so much of prodigies, which for Romans are very characteristic, can be sufferable to modern ears, they are here produced in a striking assemblage of fearful objects.

Note return to page 16 †This application of the ominous appearances to Cæsar, is extremely well calculated to open and promote Cassius's deep design.

Note return to page 17 ‡This is a most noble speech, if we view it as springing from the bosom of patriotism; the two lines mark'd &blquo;, should be transposed, there being as they stand, an error in the climax; the second should be first.

Note return to page 18 *The reflective dubitation of this speech is truly fine; and the remarks, particularly on the progress of ambition, richly instructive; it requires an actor of very sound judgment to do it justice.

Note return to page 19 *This picture of ambition is exceedingly beautiful, and strictly just; it is verified in several stations of life, every day.

Note return to page 20 †The humanity of Brutus's disposition is agreeably set forth, in his kind attention to the health and care of his page; this pleasing mark of his character is with great judgment introduced more than once.

Note return to page 21 ‡Nothing could be more politically conceived than this insinuative approach so patriotic sensibility; especially where the patriot stood in a degree of peculiar confidence with the enslaver of his country: breaking in too abruptly upon the feelings of friendship, might prejudice the most virtuous mind against the most salutary proposition.

Note return to page 22 *This is a striking reflection on conspiracy, worthy a mind superior to concealed transactions.

Note return to page 23 *Breaking from the main subject here, is prettily and politely conceived; to give Brutus and Cassius time for a brief previous explanation.

Note return to page 24 †We do not recollect a more manly and spirited address, than this of Brutus; his declining the security of oaths, is truly sensible; it being incontestible that men who will break their words seriously given, seldom are bound by more solemn obligations; it therefore conveys a delicate compliment to the conspirators, as men of determined principles.

Note return to page 25 ‡This idea might suit Roman priests, but is by no means applicable to ours, whom we find as quick to feel, and as ready to resent, wrongs, as any set of people whatever.

Note return to page 26 *The noble spirit of humanity evident in Brutus's character, is nobly expressed in this speech.

Note return to page 27 *What Decius here mentions is not a mark of peculiar weakness in Cæsar, it is almost an universal trap for human nature, and many of the isest have fallen into it.

Note return to page 28 †This short soliloquy is usually omitted, in representation, but we think it highly merits perusal, and therefore have retained it.

Note return to page 29 *This lady and Calphurnia may be supported by middling abilities; good figures seem the chief requisite; indeed to give our opinion they are both excrescences in the play, and would be better annihilated, but that female characters are agreeable to an audience, though insignificant.

Note return to page 30 *There is true magnanimity of resolution expressed with nervous brevity, in this speech.

Note return to page 31 *There is deep policy well managed, in the method Decius takes to touch the master strings of Cæsar's feelings, pride, and ambition.

Note return to page 32 *This speech, though seldom spoken, should be preserved; as containing a very pathetic natural reflection. What we have said of the first act, may serve for the second, with this addition, that the plot goes on with propriety of progression.

Note return to page 33 †It being usual to begin the third act here, we conform; but think it would open better with the senate seated; especially as that act is remarkably long.

Note return to page 34 *The scene between Porcia, the boy, and Artemidorus, is so very trifling, it might well be spared; and we wish it to be omitted.

Note return to page 35 *This brief exclamation is extremely beautiful, and a most athetic rebuke to Brutus.

Note return to page 36 †This, and the two following speeches, though seldom delivered on the stage, certainly deserve preservation, as they tend to naturalize representation, in the same manner the mock tragedy in Hamlet does; a point our author was judiciously fond of.

Note return to page 37 *This address of Mark Antony's servant, is so admirably written that it was never uttered tolerably, without considerable applause.

Note return to page 38 *As Antony has nothing to say in the first act, worth notice, we postponed mentioning his external qualifications, and other requisites, till he came consequentially forward: he should rise above the middle stature; possess graceful, insinuative, yet commanding features; a medium, mellow, manly tone of voice; with as much elegance of action and deportment, as natural ease finely modelled, can furnish.

Note return to page 39 †Shakespeare has here displayed with peculiar beauty, his knowledge of nature; by making Antony address his deceased friend, as if no other person was present.

Note return to page 40 *Though this rather savours of timidity, yet on consideration it appears a politic and justifiable concession to the state of things: nature and reason approve double dealing with irresistable power and villainy; there is another point worthy observation in Antony's profesied reconciliation with the conspirators, which no doubt the author conceived morally: which is, that the same fair-faced reservation of mind they used for the destruction of Cæsar, providentially retorts upon themselves.

Note return to page 41 *The real patriot is finely distinguished here from the pretended one; Brutus conscious that he struck for liberty alone, suspects no ill consequences from Antony's having the rostrum; while Cassius, who acted from malevolence and ambition, justly forebodes the real event.

Note return to page 42 †This soliloquy is written with much spirit and elegance; excellently adapted to Antony's situation; it requires forcible expression, but should by no means rise into a rant; as we have sometimes heard it.

Note return to page 43 *We have had the misfortune to be present when those facetious, and in general presuming gentry, the low comedians, have rendered the mob totally farcical; that very censurable mode should be carefully avoided; or severely repulsed—they ought to be seriously and ignorantly clamorous.

Note return to page 44 †This address of Brutus is uncommonly nervous; honestly unaffected; nobly argumentative, and appeals to reason alone; he scorns the aid of prejudiced, fallacious passions; and wishing heads to guide hearts, appeals to facts in a fine flow of interrogative oratory.

Note return to page 45 *This is as noble a sentiment as ever broke from the mouth of man, and is expressed with simple, unadorned dignity. The different modes of oratory furnished to Brvtus and Antony, are admirably distinguished: the former, relying on a good cause, addresses in a plain, open, though nervous stile: uses no circumlocution, nor pays the Plebeians any compliment, but that of feeling, like honest sons of freedom, for the good of their country; on the other hand, Antony finding their prejudice in favour of Brutus and his purposes, approaches their attention with political caution, offers them flattery with most plausible insinuation, and artfully touches upon those points most likely to overturn their favourable opinion of the conspirators; this scene of Antony is exquisitely written, and requires great affability of address, with a peculiar fine flow of expression, to do it justice.

Note return to page 46 *We have seen some very comical comedians put up the'r hands to their ears, as if Antony meant to be taken in a literal sense—wretched buffoonery.

Note return to page 47 *Nothing can be more artful than the frequent mention of Brutus as a man of strict honour.

Note return to page 48 *The appeal here made to the passions, is beautifully perswasive, and the picture of Cæsar's assassination pathetically striking; the circumstances attending it are most artfully and affectingly enumerated.

Note return to page 49 *Antony's mention of a will, then turning off the subject and returning to it, is admirably judicious: while the violent changes of popular affection and resentment, afford a most natural, instructive lesson, to make us despise the former, and be cautious of the latter.

Note return to page 50 *This speech concludes the third act much better than the short, immaterial, boisterous scene of popular rage, introduced by the Author. There is more important dignity, in the third act, than we ever remember to have met in any other piece; the oratorical part is indescribably fine.

Note return to page 51 *Antony's declarations, respecting Lepidus, show him to be an interested, ungenerous hypocrite; that is, a thorough statesman. The whole scene is very languid and unimportant.

Note return to page 52 †Through this act and the next, Lucilius, Titinius, &c. are advantageously blended into Casca and Trebonius.

Note return to page 53 *We think this line and the concluding question are sufficient to retain; as the simile which comes between, though a good one, seems unessential.

Note return to page 54 *This scene exhibits a most beautiful and masterly contrast of philosophic firmness, and impassioned violence: it is delightful in representation, entertaining in perusal, and instructive in both; the cool reasoner we admire, the vehement one we pity: this interview between the noble brothers should be stamped as a most useful lesson upon the minds of youth in general; its intrinsic value makes ample amends for many slips and insignificancies of the drama.

Note return to page 55 *A glorious effusion of an open, communicative friendship, here bursts forth in a majestic flow of expression.

Note return to page 56 *An admirable distinction is here made between flattery, and friendship.

Note return to page 57 *Shakespeare has introduced after this speech, an odd character of a Poet, to speak four or five lines without any meaning, unless that of turning a noble reflection into ill-timed unprofitable laughter. The rhiming excrescence is justly consigned to oblivion.

Note return to page 58 *This short stroke of exclamatory resignation is truly characteristic, and what follows admirably philosophical: however we are apt to think this scene, after the reconciliation of Brutus and Cassius, rather hangs upon an audience.

Note return to page 59 *This beautiful and just remark on the critical state of human nature, claims our warmest approbation, and ought to be held in universal, as well as lasting remembrance.

Note return to page 60 *Another pleasing instance of Brutus's tender disposition, pleasingly expressed.

Note return to page 61 †But that Shakespeare would have a Ghost whenever opportunity offer'd, we think Cæsar's might have been spared; mention of the circumstance we deem sufficient.

Note return to page 62 ‡As these four uncharacteristic, bouncing lines are used in representation, by way of sending the actor off with a flourish, we insert them; though very disgraceful to Brutus and Shakespeare: we have seen the ghost introduced a second time; but such an addition is insufferable ignorance.

Note return to page 63 *After so fine, so powerful, so luxuriant an effusion of genius as the third, no author but Shakespeare could have sustained the fourth act with such ability.

Note return to page 64 *Fearful bravery is rather a licentious expression; but as it obviously implies affected resolution, accompanied with real timidity, we know not whether it deserves censure.

Note return to page 65 †This parley among the chiefs is supported with great spirit: they say much in few words; but seem rather too acrimonious, for such elevated characters.

Note return to page 66 *This short conversation between Cassius and Casca is sometimes, but very improperly, rejected by the stage: it is a fine picture of that impression which ominous appearances made on the bravest Romans; and ever will make on the wisest, and most resolute, where such predictive chimeras are countenanced. Cas. Casca. Casca. What says my general? Cas. Casca, This is my birth-day; as this very day Was Cassius born. Give me thy hand, good Casca; Be thou my witness, that against my will, As Pompey was, am I compell'd to set Upon one battle all our liberties. You know that I held Epicurus strong, And his opinion; now I change my mind; And partly credit things that do presage. Coming from Sardis, on our foremost ensign Two mighty eagles fell; and there they perch'd: Gorging and feeding from our soldiers hands, Who to Philippi here consorted us: This morning are they fled away and gone. And, in their steads, do ravens, crows, and kites Fly o'er our heads; and downward look on us, As we were sickly prey; their shadows seem A canopy most fatal, under which Our army lies ready to give the ghost. Casca. Believe not so. Cas. I but believe it, partly; For I am fresh of spirit, and resolved To meet all peril, very constantly.

Note return to page 67 *Tho' Brutus by suicide acts contrary to this noble sentiment, yet does it not lose any of its force; but must ever appear a gem in reason's eye, though unacquainted with Christianity to which such a principle is peculiarly suitable.

Note return to page 68 *The hurry of a battle is necessarily confused, wherefore as little dialogue should be introduced, as possible; wherefore the original is in representation considerably reduced, and the catastrophe brought on with more spirit.

Note return to page 69 †The italick lines are not Shakespeare's, but properly added.

Note return to page 70 *This elogium of Antony's upon a dead foe, is elegant, comprehensive, and generous; the piece should conclude with it, unless something better was supplied; for Octavius's jingles are contemptible, and seem as if Shakespeare had suddenly tired, and patched a conclusion any way.

Note return to page 71 It is so long since this play has been acted in its original state, that it was thought needless to collect performers names.

Note return to page 72 *The opening scene of this play is a good preparative for the subject coming before us; and is expressed much in character.

Note return to page 73 *Making men of genius flatter one another in company, is natural enough, however they may vent censure when apart— it is too often the ease.

Note return to page 74 This speech is rather an unfavourable anticipation of what should be unfolded by the progress of the piece only.

Note return to page 75 †As we would rather lose any of Timon's acts of generosity, than this, because it is certainly one of the best. Tho' it might pall on the stage, we think it a duty to give it, here. Enter an old Athenian. Old Ath. Lord Timon, hear me speak. Tim. Freely, good father. Old Ath. Thou hast a servant, nam'd Lucilius. Tim. I have so: what of him? Old Ath. Most noble Timon, call the man before thee. Tim. Attends he here or no? Lucilius! Enter Lucilius. Luc. Here, at your lordship's service. Old Ath. This fellow here, lord Timon, this thy creature By night frequents my house. I am a man That from my first have been inclin'd to thrift, And my estate deserves an heir more rais'd, Than one who holds a trencher. Tim. Well: what further? Old Ath. One only daughter have I, no kin else, On whom I may confer what I have got: The maid is fair, o'th' youngest for a bride, And I have bred her at my dearest cost, In qualities of the best. This man of thine Attempts her love: I pray thee, noble lord, Join with me to forbid him her resort; Myself have spoke in vain. Tim. The man is honest. Old Ath. Therefore he will be. His honesty rewards him in itself, It must not bear my daughter. Tim. Does she love him? Old Ath. She is young and apt: Our own precedent passions do instruct us, What levity's in youth. Tim. Love you the maid? Luc. Ay, my good lord, and she accepts of it. Old Ath. If in her marriage my consent be missing, I call the gods to witness, I will chuse Mine heir from forth the beggars of the world, And dispossess her all. Tim. How shall she be endowed, If she be mated with an equal husband? Old Ath. Three talents on the present, in future all. Tim. This gentleman of mine hath serv'd me long; To build his fortune I will strain a little, For 'tis a bond in men. Give him thy daughter; What you bestow on him, in him I'll counterpoise, And make him weigh with her. Old Ath. Most noble lord, Pawn me to this your honour, she is his. Tim. My hand to thee, mine honour on my promise. Luc. Humbly I thank your lordship; never may That state, or fortune, fall into my keeping, Which is not ow'd to you! [Exeunt Luc. and old Ath.

Note return to page 76 *There is here a concise, nervous, and just sarcasm on the fallacy of human nature, which too seldom is what it seems.

Note return to page 77 †Unclew, for undo.

Note return to page 78 *Mistaken brutal self-sufficiency is well described in Apemantus, who supposes that his unsocial churlishness dignifies him, because totally opposite to the misapplied, undistinguishing affability of Timon; this philosopher, if he deserves the title, may be represented by any performer whose expression is roughly sententious; while Timon requires elegance of person, grace of deportment, smooth, and in some places powerful utterance.

Note return to page 79 †This is a concise and nervous rebuff to false ideas of splendor compared with plain-dealing, which is the most valuable, tho' not the most thriving, requisite of life.

Note return to page 80 *Through the whole of this scene Apemantus's replies are concisely pregnant and justly satirical.

Note return to page 81 *It is a great pity that sentiments so nobly generous should, for want of prudence, lead to the ruinous errors of Timon, but experience sadly instructs us, that the narrow selfish part of mankind obtain and possess more of what are called the good of this life, than those who indulge liberal feelings; however it is certain that Timon in this particular instance carries his bounteous delicacy to a romantic length; it is generous to assist, and not at all selfish to receive what has been advanced, when the object of favour has capacity to return it.

Note return to page 82 *Does not our author here advert to an idea unknown to Greece; it was common in barbarous times for the inhabitants of this island to pledge one another, that is, for one man to be another's security that no person should cut his throat, or stab him, while drinking.

Note return to page 83 *This grace is very characteristic, well conceived, and bate the jingle of the rhimes, happily expressed.

Note return to page 84 †The flow of heart exhibited in this speech, if consistent with human connections, would be a most beautiful picture of society, but as mankind act, it rather shows what we ought to be, than what we are.

Note return to page 85 *An exceeding keen and well applied sarcasm.

Note return to page 86 *These lines deserve a place, though omitted by the stage. We make ourselves fools, to disport ourselves, And spend our flatteries to drink those men, Upon whose age we void it up again, With poisonous spight and envy— Who lives, that's not depraved, or depraves; Who dies, that bears not one spurn to their graves Of their friend's gift?

Note return to page 87 *Quere, Whether becks, that is, bows and scraping of legs, were the mode of salutation at Athens.

Note return to page 88 †This scene, though intersected with different characters, a masque, &c. is intolerably long. There is a most wearisome sameness in this act, and many tedious repetitions: Timon's elegant affability, and Apemantus's cynical roughness can only support it.

Note return to page 89 *The suspicious, selfish, rigid, and therefore unfeeling creditor is well exemplified, in this speech.

Note return to page 90 †Fracted dates, delays of payment, broken promises.

Note return to page 91 *This scene is entirely quibble, which tho' far from being void of useful meaning, can never afford much entertainment, nor show merit in action.

Note return to page 92 *In the conversation between Timon and Flavius we perceive the inconsiderate lord, who knows not his own situation, and the faithful, modest steward, who laments irregularities pleasingly and properly depicted.

Note return to page 93 *One misfortune attending lavish generosity is, its obstinate avoidance of all remonstrances, which tend to check the rapid tide of inclination; by showing how fast it runs to an ebb.

Note return to page 94 *Flavius should be excepted from that insignificance of character we hinted, as he is amiable, sensible, and feeling. Moderate abilities may do him justice on the stage; an open honest countenance, with easy medium tones of voice, seem to be the whole.

Note return to page 95 †These ideas are admirably suited to Timon's liberal unsuspecting nature, who, bountiful himself, seems not to think that ingratitude and narrow-spiritedness are to be found in man.

Note return to page 96 *The frivolous evasions of ingratitude, and the breaks in this speech, are admirably natural.

Note return to page 97 *The second act, though not interesting, has more life than the first, and is better also by being shorter; curtailed as the first act is of three pages, it still hangs most terribly.

Note return to page 98 †This reception of Timon's messenger is truly descriptive of an expecting sycophant.

Note return to page 99 *It is very common for those who prey on prodigality, when they can get no more, seemingly to lament the ruinous effects it works.

Note return to page 100 †This honest contempt of Flaminius must warm each generous heart: it speaks the purest attachment to his failing lord, and a noble disdain of paltry bribes, so ungrateful, so shocking to a generous mind.

Note return to page 101 *Shakespeare has well distinguished the supposed friends of Timon; one he has made wish to slip off unseen, a second apologizes with plausible civility, the third with rough ingratitude: all characteristics daily displayed; yet these scenes in succession, so similar, must pall.

Note return to page 102 †A most poignant reproach this to the sordid part of human nature, which shrinks from grateful obligations.

Note return to page 103 *It was supposed a person who died in debt could not cross the Styx.

Note return to page 104 †This setting upon a generous man in decline, like a pack of hungry hounds, is a melancholy picture; yet strictly true, evidenced by a multitude of distressful examples, every day.

Note return to page 105 *This is a most beautiful, humane sentiment; and we heartily wish that dispensers and expounders of law, would guide their conduct by it.

Note return to page 106 †This whole scene, which ends with the unnecessary banishment of Alcibiades, seems only calculated to give the main action a pause; however, the speech preceding this note contains very emphatic well express'd truth.

Note return to page 107 *The whole concern of Alcibiades in this play seems episodical; and is rather an excrescence than an ornament.

Note return to page 108 *Timon's invitation to the shuffling objects of his wasteful bounty, is a piece of rational revenge; his grace deals out most poignant reproach, and his impassioned speech on driving them out, shows all the spirited feelings of an honest, injured heart, replete with the most cutting wrongs—the stings of ingratitude. The author has thrown a considerable show of business and fire into his third act; the circumstances rise properly, and the plot unfolds as it ought, by their gradation.

Note return to page 109 *However highly provoked, there is in this speech of general execration something unworthy a generous mind; but it is not unnatural, as the heart which undistinguishingly dispenses favours, may, turned to the opposite way, be easily supposed as unlimitedly vindictive; should this be allowed the author is yet culpable for mingling indecency, as he has done, with temporary madness.

Note return to page 110 †Pill for plunder.

Note return to page 111 *It requires great acrimony, strong continuance, and variety of expression, to do this soliloquy justice; it is too long, and should be curtailed of the italick lines at least.

Note return to page 112 †Honesty would have greater extent, if every steward could justly join in this respectable declaration.

Note return to page 113 ‡There is matter pathetically sensible in this interview of the servants; and Flaminius concludes it with much grateful sensibility.

Note return to page 114 *We could wish Timon had not been again introduced savagely execrating; however the latter part of this too long soliloquy, offers some very pertinent remarks on the power of gold.

Note return to page 115 ‡Semblable—for likeness.

Note return to page 116 †Phang, tear to pieces—as with the claws of a wild beast.

Note return to page 117 *This scene, though in places shrewdly satirical, is, upon the whole, exceeding flat and indecent.

Note return to page 118 †Monstrously gross.

Note return to page 119 ‡Trenchant—cutting.

Note return to page 120 §Mountant, a considerable height.

Note return to page 121 *An amazing powerful idea is here given of prophane swearing.

Note return to page 122 †It is amazing that any author should persevere so long together in a shameful violation of decency.

Note return to page 123 ‡Crisp here seems to be used for hollow, or rather vaulted.

Note return to page 124 *Ensear—close up.

Note return to page 125 §Carper for cynic.

Note return to page 126 *Apemantus's reproaches are nervously and fancifully keen, but most morosely ill-timed; notwithstanding which, there is so much poetical imagery, such strength of argument by allusion, that the speech must feelingly please in private and public.

Note return to page 127 †This reply of Timon's is exceeding masterly, and founded on just principles; the assimilation of himself to a winter-bared oak, is admirably majestic and pathetic.

Note return to page 128 ‡This speech has too much puzzle; and the whole scene should be much more reduced than it is: ever so well performed it must tire any ear, nor do we find it much less burthensome upon private attention.

Note return to page 129 *Shakespeare has been very profuse in describing the power of gold, but in no place more practically than here.

Note return to page 130 †Yet thanks I must you con, seems to us tautologous; being as much as to say, Thanks, I must you thank.

Note return to page 131 The fourth act rather rises upon us, but Timon has so much to say, that the actor, who does him justice, must have very permanent powers.

Note return to page 132 ‡The following lines should be spoken. How rarely does it meet with this time's guise, When man was wisht to love his enemies! Grant I may ever love, and rather woo Those that would mischief me, than those that do!

Note return to page 133 §The author has begun his fifth act, with an affecting interview between Timon and his faithful steward; but we wish the former did not overflow with such an excess of misanthropic resentment, of which he has, with great sameness and prolixity, been before too liberal.

Note return to page 134 *This his interval of tender feeling for his faithful steward, softens the frenzied rigidity of Timon, agreeably.

Note return to page 135 †Suspect, for suspicion.

Note return to page 136 ‡Promises and performance are here distinguished in a sensible satirical manner.

Note return to page 137 §It is a great pity to omit the following passage. To promise, is most courtly, and fashionable; performance is a kind of will or testament, which argues a great sickness in his judgment that makes it.

Note return to page 138 *These lines also most certainly deserve preservation. Whose thankless natures, (oh abhorred spirits!) Not all the whips of heav'n are large enough— What! to you! Whose star-like nobleness gave life and influence, To their whole being! I am rapt, and cannot Cover the monstrous bulk of this ingratitude, With any size of words. Tim. Let it go naked, men may see't the better: You that are honest, by being what you are, Make them best seen and known.

Note return to page 139 †Cogg, for flatter.

Note return to page 140 ‡The return of fawning professions to return of wealth, as well as their departure from poverty, is too well known to every body, who knows any thing of life; but the picture here drawn, of such infamous time-serving, may have singular good effects upon unpractised youth, if properly inculcated and attended to; Timon, in this scene, retorts upon his ungrateful countrymen, with a proper degree of firm manly resentment.

Note return to page 141 †Bruite, report.

Note return to page 142 §Fragile, for brittle—this speech we deem very beautiful; the assimilation it contains, is most happily fancied.

Note return to page 143 *Sequence, for gradation.

Note return to page 144 †This languid departure of the principal character, must leave an audience unsatisfied; and all that follows is so detached from the main plot, except Timon's epitaph, that cutting every line out would rather serve, than maim, the piece; it is merely patching up a conclusion with ingredients totally void of critical relish.

Note return to page 145 ‡Dear for dread.

Note return to page 146 §There is a short scene of the original, before this, properly rejected.

Note return to page 147 The last act of this play has neither much to praise, nor much to condemn; of the conclusion, we may speak in Spakespeare's own words, that it is most lame and impotent.

Note return to page 148 *Leontes, as odd a monarch and mortal as we have met with, requires some variation of powers and force of utterance; his personal appearance should suit his dignity. Polixenes is a kind of water-gruel character, equally distant from giving pleasure or disgust; common abilities with a genteel figure may give satisfaction. Hermione is very near in the same stile.

Note return to page 149 *To let, is to stay.

Note return to page 150 †Gest, the appointed stage, or time, of departure.

Note return to page 151 *This scene of invitation, tho' curtailed, is still too long, quibbling and flat, conceived in terms, on the queen's side, rather childishly low, than maturely royal.

Note return to page 152 †The origin and progress of jealousy are mostly unaccountable, but we never met with so strange a picture as this exhibited by Leontes, who, from what he himself has desired, picks out suspicion; indeed some passages which follow this speech, in the original, show his majesty to be little better than a bedlamite; but, to the credit of our author, they are properly omitted.

Note return to page 153 *Why Shakespeare introduced this immaterial scrap of Latin, we know not.

Note return to page 154 †Paternal affection is prettily and pleasingly set forth, in this speech.

Note return to page 155 †Seventeen incoherent indecent lines, unfit for both stage and closet, are here commendably pruned.

Note return to page 156 *This speech is too obscure and perplexed, to be understood upon transient repetition.

Note return to page 157 *Camillo's exculpatory address has considerable merit, as it traces regularly the king's rough unintelligible charge.

Note return to page 158 †Leontes here exhibits a good picture of a jealous mind, which working self-torment fishes up the slightest and most distant materials to feed its own misery.

Note return to page 159 *The proposing of and assenting to Polixenes's death, by treacherous means, upon such slight vaporous surmises, shows Leontes a monster of inhumanity, as well as of folly.

Note return to page 160 *Polixenes, so lately pressed with hospitable intreaties, may well be surprised at his old friend's churlish change.

Note return to page 161 *This obscure and precipitate retreat of a monarch, tho' in danger, abates dignity much: it might have been rendered better by putting some spirited objections into the mouth of Polixenes, which Camillo might have over-ruled; at present shameful pusillanimity appears. The first act resting almost on the childish irregular feelings of Leontes, can give little pleasure, less instruction.

Note return to page 162 †This scene of Mamillus and the Ladies is one of the many trifling excrescences which Shakespeare suffer'd to shoot from his luxuriant genius.

Note return to page 163 *We think these lines, which we preserve for the reader, should also be spoken. &lblank;O thou thing, Which I'll not call a creature of thy place, Lest barbarism, making me the precedent, Should a like language use to all degrees, And mannerly distinguishment leave out, Betwixt the prince and beggar.

Note return to page 164 ‡We think these lines, which we preserve for the reader, should also be spoken. &lblank;and Camillo is A federary with her, and one that knows What she should shame to know herself, But with her most vile principal; that she's A bed-swerver, even as bad as those That vulgar give bold'st titles;

Note return to page 165 &verbar2;This idea is truly hyperbolical.

Note return to page 166 §There is here a just distinction made between the different feelings of sorrow; weeping is often produced by an equivocal concern.

Note return to page 167 *Paulina should have spirited features, and expression by no means weak, nor yet vulgar.

Note return to page 168 †Lunes, for frenzies.

Note return to page 169 *These two lines are inserted from the old folio edition.

Note return to page 170 *These two lines are inserted from the old folio edition.

Note return to page 171 *That Antigonus has given up the privilege of a husband, is Leontes's meaning here—the king proves himself a complete scold.

Note return to page 172 *The character of Paulina, as advocate for the injured queen, is well sustained in this scene, and tells well in action; while Leontes cuts rather a ridiculous figure; he storms 'tis true, but it is in a most laughable manner.

Note return to page 173 †Lozel—filthy hag.

Note return to page 174 *The ready tenderness of Antigonus for a helpless babe, is affecting, and well contrasted to the hare-brained barbarity of Leontes.

Note return to page 175 The second act, especially as far as Paulina goes, is better than the first, yet cannot we afford it much praise.

Note return to page 176 *A short unnecessary scene previous to this is justly left out.

Note return to page 177 *Wotting—for knowing.

Note return to page 178 *By so much as Leontes's jealousy is below that of Othello, so much is this trial scene beneath in point that of Katharine in Henry the Eighth; the comparison plainly shows how much a great man may shrink from himself; however, we freely admit that Hermione's defence is not only well imagined, but is also pleasingly expressed.

Note return to page 179 *The queen's speed here means success; it is common to say, how did you speed or prosper?

Note return to page 180 *This alarm of the queen's death is well contrived to strengthen Leontine's contrition.

Note return to page 181 †Tincture for colour.

Note return to page 182 *Paulina maintains her spirit thro' this scene commendably, and in this speech particularly throws out ideas equally beautiful and forcible.

Note return to page 183 †There is great art in pretending she means not to wound the king, yet strikes him three times.

Note return to page 184 *This dream of Antigonus is well devised and expressed as a solemn suitable introduction to the melancholy business. We think had it not been necessary for the strange plot of this piece, that a man of Antigonus's fine feelings would, as he might, dispose the infant some other way; as a promise or oath to commit murder, or what is as bad, exposing a child to a ling'ring death, is much more honourably broken, than kept, supposing a determination of the Oracle, that it should be so, is some little apology.

Note return to page 185 *Shakespeare had here introduced a bear—a most fit actor for pantomines or puppet-shows; but blushing criticism has excluded the rough gentleman.

Note return to page 186 †This circumstance of the princess's being found by a shepherd is a common ingredient in old wife's tales: however, the clowns are well written, and require a dry quaintness of expression, in performance.

Note return to page 187 *This description, tho' rustically expressed, is nervous and humane.

Note return to page 188 *True native tenderness of heart.

Note return to page 189 †The best of the third act is, its being short.

Note return to page 190 ‡Never did play want a chorus more than this; however we cannot much compliment Time on his speech here, especially when compared with what he utters in some other of our author's plays. However, the information he favours us with is very essential to rub up recollection, and apologize to probability.

Note return to page 191 *This pleasant pedlar requires an arch laughable comedian, of ready expression and very flexible features: as to stature or symmetry, they have no concern in his composition. The song he is introduced with, and all he sings, are very spirited. In a very agreeable farce, picked out of this play, some years since, Autolicus is the leading card, quite the cream of the jest: the contrast between his cunning and the Clown's simplicity, is very well supported.

Note return to page 192 *Troll-my-dames; the game of nine holes.

Note return to page 193 †A motion; he means a puppet-show.

Note return to page 194 *There is a vein of poetical pastoral beauty runs through the whole scene, where Florizel and Perdita are concerned, not to be surpassed. Their figures should be delicately fine, and their expression, to do the charming picturesque sentiments they have furnished justice, should be meltingly harmonious: their ideas would thaw the breast of frozen age; and their style, without a tincture of inflation, suits their high birth.

Note return to page 195 *This modest humility recommends the supposed shepherdess exceedingly to our favour.

Note return to page 196 *That cordial hospitality, much oftener found in a rural, than higher sphere of life, is agreeably introduced here.

Note return to page 197 *This servant gives a pleasant caricature account of Autolicus, and must, if tolerably acted, create laughter.

Note return to page 198 *This scene from Autolicus's entrance is rustically characteristic, and affords entertainment.

Note return to page 199 †Throws open his shepherd's vest, and discovers his rich garment.

Note return to page 200 *The spirit of Florizel, tho' it seems specked with disobedience, here shines with the brilliant lustre of honest independence, which despises gain weighed against constancy.

Note return to page 201 †Tho' near five pages are cut out of the preceding scene, it is still too long, and may be charged with unessential intricacy; what follows, to the end of the act, we think might be spared one half, it is harping too much on one string; the ear and taste must both pall.

Note return to page 202 Shakespeare was unconscionable enough to load this act with twenty-seven pages, about ten are pared off, and at least three more might be spared: Mr. Hull has taken uncommon pains, by slicing, transposing, &c. to give its beauties fair play, by ridding them of dull company.

Note return to page 203 ‡Paulina is a remembrancer of death to Leontes; she is too much in this strain.

Note return to page 204 ‡This conduct of Paulina's is well calculated to work up the catastrophe.

Note return to page 205 §Both the characters and time in this piece, travel with very astonishing speed.

Note return to page 206 *This scene, tho' it is unravelling a material part of the plot by the flat mode of narration, has merit, Camillo's descriptions, feelingly spoken, must please intelligent minds.

Note return to page 207 †The circumstance of presenting Hermione as a statue, is very well suggested, and never fails to strike, the somewhat pantomimical.

Note return to page 208 ‡In this scene, which is judiciously carried on, Leontes should have expression peculiarly pathetic, with impassioned eagerness to inforce it.

Note return to page 209 *We think sacred as religion would be much more adequate, than lawful as eating.

Note return to page 210 *This is a good deduction from Hermione's circumstances, and well expressed. Having in our introduction given a general idea, we shall here in few words only say, that the fifth act is languid, till lifted by the catastrophe.

Note return to page 211 *This play, like Julius Cæsar, begins with a mob, only differently circumstanced; in the piece before us the citizens are tumultuous, from supposed, or real, oppressions, of which they think Caius Martius a leading cause; in Cæsar they riot for joy; in both pieces they are well drawn; the variety and quick changes of opinion which prevail among such assemblies, are admirably depicted.

Note return to page 212 †This simply natural speech bites severely the great, who roll amidst abundance, without considering the necessitous poor, who starve to feed their luxury: have we, as to this point, any likeness of ancient Rome, in Britain!

Note return to page 213 *This is a most sensible remark; the man who is unreasonably proud of and blazons his own merit may well be said not only to lessen it, but also to pay himself.

Note return to page 214 *Inkling means intimation.

Note return to page 215 †It is very common for the lower class of people to clamour against government, for unavoidable providential inconveniencies.

Note return to page 216 ‡This fable is most happily introduced, as more likely to gain popular attention than more serious argument, and is related with remarkable ease; being generally known, and as generally approved, we need say no more of it.

Note return to page 217 *Muniments here means supports, sometimes fortifications.

Note return to page 218 §This is a noble picture of the human frame, and the interruptive important impatience of the citizens, very characteristic.

Note return to page 219 *Menenius makes a concise nervous application of his fable; and his changing from calm remonstrance to warm reproof, shews sensible spirit properly roused.

Note return to page 220 †Martius should possess austere dignity of appearance, and commanding power of voice. Menenius should be allotted to a good second rate actor.

Note return to page 221 ‡This speech is of a very harsh brow-beating nature, too much so, we think; for a nobleman to scold a mob, is low; however, in it we find a just remark on the instability and consequent insignificance of that political weather-cock, popular esteem.

Note return to page 222 *Tho' steadiness in government is of the utmost importance, yet we think Martius's violent and arbitrary ideas are blameable: he holds the people too low, not seeming to know that the limbs are as essential to the belly, as the belly to the limbs.

Note return to page 223 †This is a vain but generous compliment to a rival in fame.

Note return to page 224 *To gird is to reprove, or, it may be interpreted, to sneer at.

Note return to page 225 *The tribunes, &c. in this scene, should be appearances of outward respect and sensible utterance; nothing more seems requisite.

Note return to page 226 †There is a short scene of the original, preceding this, properly omitted here.

Note return to page 227 *This speech is pregnant with the true spirit of a Roman mother: it has more of character, than the milk of human nature, in it.

Note return to page 228 †His mail'd hand; his arm'd hand.

Note return to page 229 *This account of young Martius, is well fancied and natural, though rather odd.

Note return to page 230 *This is a scene of most insignificant conversation: if the ladies look agreeably, little more is required for representation. The first act in performance ends here, by which seven pages of the original are judiciously lopped off—We think there is very little matter or merit in the act, as it stands now; had it been left in its first state, there would indeed have been more of the former, but, as we think, less of the latter.

Note return to page 231 *Caparison—a term for horse-furniture.

Note return to page 232 †Here is a modesty rather uncharacteristic; though there is often as great vanity in declining praise, as in admitting it.

Note return to page 233 *Martius's objecting to a disproportionate particular division, shows a noble independance of spirit; and we wish our commanders, both by sea and land, would seriously contemplate his behaviour, in this part of the scene.

Note return to page 234 †This speech contains great majesty of thought; the idea of steel-clad heroes, and the instruments of war turning flatterers, is admirable.

Note return to page 235 *It was common among the Romans to give a name of honour in this manner.

Note return to page 236 †This is a most pleasing well-thrown-in start of generous grateful feeling, worthy of the soldier and the man.

Note return to page 237 ‡A page following this scene, is properly rejected.

Note return to page 238 *This scene appears totally intended to show the tribunes as being Martius's foes, in a contemptible light; which purpose it affects: it acts well for Menenius, who should possess spirited bluntness, to support it.

Note return to page 239 *Cicatrices—are fears.

Note return to page 240 †Our author takes vast pains in this scene, as indeed he does all through, to magnify his hero; but we apprehend there is too much of it.

Note return to page 241 *The eagerness of public curiosity is very well described, in this speech.

Note return to page 242 *The napless vesture of humility means, the white gown in which persons solliciting election-offices publicly appeared, and from whence they were called Candidates.

Note return to page 243 *He lurcht—that is, left behind all swords, in pursuit of victory.

Note return to page 244 *Comparing his progress in the tide of battle to a ship ploughing the waves, is a most elevated and figurative idea.

Note return to page 245 †The whole of this panegyric on Coriolanus, as a warrior, is boldly conceived, and very well expressed; it flows without an appearance of flattering exaggeration.

Note return to page 246 *This scene of the citizens is written with some pleasantry.

Note return to page 247 *Coriolanus's contempt for the people, especially in such a state as that of Rome, is a bad mark of character. As to his not liking public solicitation, tho' customary, it is not at all inconsistent with good sense and good principles; especially where self-praise was required.

Note return to page 248 *The envious and malicious tribunes take a good method to work up their ready tools, the people.

Note return to page 249 *This act has considerably more business and better materials, than the former; but is ringing a change of words upon one object, from beginning to end.

Note return to page 250 *For one brave man to hate another, because his rival in glory, is meanly rancorous—in this Coriolanus rises far above Aufidius.

Note return to page 251 *A very pointed severe sarcasm this, upon the tribunes.

Note return to page 252 *Coriolanus all through this scene manifests a just boldness of sentiment and expression. A considerable share of his part is omitted; but what stands is the better for it.

Note return to page 253 *The Tarpeian rock was a place from whence they used to cast criminals into the Tyber.

Note return to page 254 *The resistive invincible spirit of Coriolanus, speaks itself thouroughly in this speech.

Note return to page 255 *Spoke by rote, from the advice of friends.

Note return to page 256 *This advice of Volumnia's is sensible and politic; but we think she carries humiliation too far.

Note return to page 257 *Unbarbed sconce—his unshaved head.

Note return to page 258 †This picture of a disgraceful change is admirable.

Note return to page 259 *This vehement burst of passion upon the aggravation of so opprobrious a term as traitor, is much in character: though Coriolanus's behaviour is in several points romantic, and not defensible, yet this animated acceptance of and reproach to the popular sentence, displays great magnanimity of resolution; it raises our pity for a great man so situated, though greatly his own seeking: the important share he has in this act, renders it better, and more an object of attention and concern, than either of those before it.

Note return to page 260 *This scene is extremely well written, and the noble exile's demeanour very becoming.

Note return to page 261 *Volumnia's appearance should speak the noble Roman matron, and her expression ought to have some force.

Note return to page 262 †We cannot think how these deserving lines came to be rejected on the stage; it must be clipping for clipping's sake. Friends now fast sworn, Whose double bosoms seem to wear one heart, Whose hours, whose bed, whose meal and exercise, Are still together; who twine (as 'twere) in love Unseparable, shall within this hour, On a dissension of a doit, break out To bitterest enmity. So fellest foes, Whose passions and whose plots have broke their sleep, To take the one the other, by some chance, Some trick not worth an egg, shall grow dear friends, And interjoin their issues. So with me;

Note return to page 263 ‡Coriolanus's proposition of fighting against his country, tho' greatly provoked, is no mark of a hero; it is only justifiable in those characters, with whom, as Dr. Young has it, revenge is virtue.

Note return to page 264 §Aufidius's reception of so deadly a foe is hospitably noble.

Note return to page 265 *The change of the Plebeians upon appearance of approaching danger, is very characteristic; and every man striving to throw blame off himself, laughable.

Note return to page 266 †This scene has no other meaning, than that Aufidius, from envious feelings means secretly to work Coriolanus's destruction: this fourth act is, except two scenes which we have taken notice of, most exceeding flat.

Note return to page 267 †Bare—mean or beggarly.

Note return to page 268 ‡The Tribunes who have caused Coriolanus to take up arms against his country, are well wrought upon, in this scene; and Menenius's taking upon him, as an old friend, a palliative message, is well devised.

Note return to page 269 §This is rather a brutish reply to a warm friend, whose assiduity he had reason to thank; civility, unless he feared himself very weak, could not endanger his resolution; had he indeed declined entering into converse with his mother, &c. the plea of nature's powerful feelings, would be a very material excuse.

Note return to page 270 *Menenius's reception of the slight thrown on him with such cynical roughness, is manly; and in few words significantly connected, speaks both the honest man, and the old Roman.

Note return to page 271 *The filial respect and conjugal affection expressed in this speech, are truly amiable.

Note return to page 272 †Why the two following speeches have been cut out, we know not, they well deserve a place. Vol. O stand up blest! Whilst with no softer cushion than the flint, I kneel before thee, and unproperly Shew duty as mistaken all the while, [Kneels. Between the child and parent. Cor. What is this? Your knees to me? to your corrected son? Then let the pebbles on the hungry beach, Fillop the stars: then, let the mutinous winds Strike the proud cedars 'gainst the fiery sun, Murd'ring impossibility, to make What cannot be, slight work.

Note return to page 273 *This compliment to Valeria is beautifully poetical.

Note return to page 274 *Recreant—a captive.

Note return to page 275 *Volumnia is perswasive, but rather tedious, in this address. At least one third of it might very well be spared, notwithstanding the weight and urgency of her subject.

Note return to page 276 †We consider Coriolanus as very languid in his mode of yielding to so material a sacrifice of his honour, and the trust reposed in him; his struggles should have been of a more feeling nature. The scene also ends most flatly.

Note return to page 277 †Seemed to think he paid my services by his acceptance.

Note return to page 278 *If any justification can be offered for conspiracy against the life of a man, Aufidius seems here to offer a very good one; for certain it is from the face of affairs that Coriolanus behaved like a traitor, abroad, intirely like a brute, and partly like a fool, at home.

Note return to page 279 *He has no occasion to ask the reader's pardon for scolding, as thro' the first and second acts he does nothing but scold the plebeians; but here he thinks the Volscian lords require a little more respect.

Note return to page 280 †The treacherous barbarity of Aufidius, and his ruffian crew, must raise great indignation; yet the fall of Coriolanus works no effect similar to that of other great Romans presented in the drama. Brutus, Cato, &c. their deaths touch feelingly the human heart; they sink under a virtuous necessity, by committing, what in their time was deemed the noblest instance of resolution, acts of suicide: but the hero of this piece, is such an enthusiast to sanguinary actions, so brutally rough, so peculiarly proud, so improperly vindictive, and at last so shamefully weak, that it must be a very susceptible bosom indeed, which yearns for his fate.

Note return to page 281 *My rage is gone, time it was we think—how long would this assassin have had it remain, after the object of his envy was dead? the crocodile concern he affects, deserves only to be laughed at.

Note return to page 282 †The fifth act rises very considerably above the fourth; the intercession scene is important and pathetic; but what comes after, falls off, and we are not interested by the catastrophe.

Note return to page 283 *This love-sick duke may be supported by a second rate actor. He opens the play in a most fanciful and pleasing manner.

Note return to page 284 †Why should not the following lines be spoken? O spirit of love, how quick and fresh art thou! That, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soe'er, But falls into abatement and low price, Even in a minute; so full of shapes is fancy, That it alone is high fantastical.

Note return to page 285 *This allusion to the story of Acteon, who was turned into a hart, and torn to pieces by his own dogs, for presuming to gaze on Diana, is happily applied.

Note return to page 286 *It is very singular that a young lady, just escaped shipwreck, amidst apprehension for her brother, should so suddenly form a design upon the duke, whom she had never seen: but when Shakespeare wanted to push on his plot, he was not very ceremonious with probability.

Note return to page 287 †This idea is almost as strange, as the young lady's strange design.

Note return to page 288 ‡Jollity of features, figure, and expression, are the essentials for Sir Toby. Maria requires nothing but ease and a tolerable person.

Note return to page 289 *Kestrel—a small kind of bastard hawk.

Note return to page 290 *By Castilian countenance here he means grave and reserved looks, which he bids her put on, because Sir Andrew is coming.

Note return to page 291 †The requisites we have mentioned for Slender, in The Merry Wives, will suit this child of whim, save that he should possess sprightlier, more disengaged simplicity.

Note return to page 292 ‡There may be wit in these snip-snap repartees: if there is, it is very far-fetched and obscure: bamming or humbugging poor Sir Andrew is the intent; but we fear readers and auditors will partake of the effect, with him.

Note return to page 293 *Shakespeare frequently strikes at the vanity of age; which commonly thinks its youth produced the cleverest fellows, and the best manners.

Note return to page 294 †Galliard and Corant—terms for movements in dancing.

Note return to page 295 *Rubious—for cherry.

Note return to page 296 *Lenten, means a lean unpregnant answer.

Note return to page 297 †Gaskins—wide hose, or wide breeches; perhaps both in one.

Note return to page 298 ‡This remark is exceedingly shrewd and sensible; for those in general who think themselves wits, have least pretensions.

Note return to page 299 *Those requisites pointed out for Touchstone, in As you like it, will do for this Clown. Olivia should be a very sensible speaker, with an elegant figure and graceful deportment.

Note return to page 300 *A dry coxcomical importance, quaintly expressed, seems to be the material ingredient of Malvolio; who thereby, from future situations, becomes a very laughable object, and indeed shows much originality of character.

Note return to page 301 *An excellent sarcastic remark, on the progression of drinking beyond moderation.

Note return to page 302 *Heretofore All proclamations by the king, All appointments of the rates of wages by the justices of peace, and other things of the like nature, were sent to the sheriff of each county, who was obliged to promulgate them, not only by causing them to be read in every market-town, but by affixing them to some convenient place within it: for which purpose great posts or pillars were erected in each such town, and these were call'd Sheriff's posts.

Note return to page 303 *Skipping—so light, incoherent a dialogue.

Note return to page 304 *Beauty truly blent—that is, the tint's beauteous complexion truly mingled.

Note return to page 305 Upon strict perusal in private, and close attention in public when performed with respectable ability, we have not been able to discover much solid matter or entertainment, in this act: it opens the characters and a part of the plot, tolerably; further we say not.

Note return to page 306 *Estimable wonder, means here, strained panegyric.

Note return to page 307 *This is certainly an oblique stroke at some physical opinion, which prevailed in Shakespeare's time, concerning the due proportions of elementary ingredients in the human composition.

Note return to page 308 †He means to say, impocket thy gratuity.

Note return to page 309 ‡There is very little doubt but Shakespeare had some meaning, in this scene; however to us it plainly appears, that he took uncommon pains to conceal the greatest part of it.

Note return to page 310 *This is as outre a speech as ever we met with, for any character, and where the tendency lies, we can by no means clearly see.

Note return to page 311 †Cosiers catches—imply taylors songs, &c.

Note return to page 312 *Swaths stand here for quantities.

Note return to page 313 *These lines should be preserved, as the sentiment Viola utters, is exceeding fine; giving us an idea, that music can touch the master string of the heart. How dost thou like this tune? Vio. It gives a very echo to the seat, Where love is thron'd. Duke. Thou dost speak masterly.

Note return to page 314 *Dirty lands—we think sordid would have been a much more adequate word, than dirty.

Note return to page 315 †The matchless picturesque beauty of this speech, is so obviously striking, that to enlarge upon it would seem an insult to the reader's conception. Suffice it then to say, Shakespeare himself never surpassed it.

Note return to page 316 *We cannot form even a satisfactory conjectural idea of what is meant by the Lady of the Strachy. Mr. Warburton thinks, and perhaps justly, it implies the Lady of Thrace.

Note return to page 317 *Making him speak of winding up a watch, elevates the idea of his vanity, as watches were very scarce, in our author's time, consequently an appendage of importance.

Note return to page 318 *Brock—a badger.

Note return to page 319 †Stanyel—a bird of the hawk kind.

Note return to page 320 *Champian implies a flat open country.

Note return to page 321 *Notwithstanding there is a very pleasant oddity in this scene, and particularly Malvolio's interpretation of the letter, yet we think it is rather laborious in the actors, and spun too fine for the audience.

Note return to page 322 †The second act has infinitely more vivacity, than the first, and is vastly enriched by the whimsical trap laid for Malvolio.

Note return to page 323 *This is an admirable, and a very obvious hint of the general progress and influence of folly, which undoubtedly may be said like the sun to visit occasionally all parts of this terrestrial globe; but that the sun walks round the globe is contrary to our system.

Note return to page 324 †Why our author throws in unmeaning scraps of French, we know not, they cannot please persons who do understand the language: and are unintelligible to those who do not—oddity of character is no excuse for them.

Note return to page 325 ‡Pregnant and vouchsafed, for ready and condescending.

Note return to page 326 *Unrestrained—or rather, cruel thoughts.

Note return to page 327 †Cypress—a thin transparent kind of gauze.

Note return to page 328 ‡A grice-means a step.

Note return to page 329 §These lines should not be rejected, wherefore we offer them to our readers, here. I wish I might; for now I am your fool. Oli. O, what a deal of scorn looks beautiful In the contempt and anger of his lip! A murd'rous guilt shews not itself more soon, Than love that would seem hid: love's night is noon.

Note return to page 330 *Maugre—notwithstanding.

Note return to page 331 *The Wren is remarkable for laying many eggs at a time, nine or ten, and sometimes more: and as she is the smallest of birds, the last of so large a brood may be supposed to be little indeed, which is the image intended here to be given of Maria; the meaning of Sir Toby's remarks seems an apology for the size of the performer: in Shakespeare's time the womens parts were played by boys, and sometimes very small ones.

Note return to page 332 *Olivia should posses beauty of countenance, elegance of figure, grace of deportment, and sensibility of speech.

Note return to page 333 *There is something most laughably ridiculous in Malvolio, through this scene; it requires a peculiarity of whim in the action.

Note return to page 334 †Lim'd, that is, caught her.

Note return to page 335 ‡Fellow is taken by Malvolio in the favourable sense of a companion, not its present interpretation of contempt.

Note return to page 336 §We see no use for this indelicate line.

Note return to page 337 *This unnecessary appeal to heav'n rather skirts upon profanation.

Note return to page 338 †Cockatrice, a serpent, credulously supposed to spring from a cock's egg, and to carry death in its eyes.

Note return to page 339 ‡Yare—alert.

Note return to page 340 §This passage seems a sneer on chamber made knights, compared to baronets, who earn and obtain their honour, in the field.

Note return to page 341 *Arbitrement—decision.

Note return to page 342 †These lines should be preserved. I hate ingratitude more in a man, Than lying, vainness, babling drunkenness, Or any taint of vice, whose strong corruption Inhabits our frail blood.

Note return to page 343 *Antonio's mistaking Viola for her brother, is a well contrived mode of intimating that Sebastian is alive.

Note return to page 344 ‡This act has considerable life in it, and is sustained by a large portion of comic business, carried on with humorous spirited dialogue.

Note return to page 345 †This seems to carry a piece of satyr upon monopolies, the crying grievance of the time. The grants generally were for fourteen years: and the petitions being referr'd to a committee, it was suspected that money gain'd favourable reports from thence.

Note return to page 346 *The mistake of Sebastian for Viola, is very pleasant, and when Olivia falls into it throws out a very agreeable opening of the plot, of which we have yet seen very little.

Note return to page 347 †Rudesby—a ruffian.

Note return to page 348 ‡This scene is wild, but laughable, an eccentric flight of a warm imagination.

Note return to page 349 *Why omit these lines? to us they seem necessary. Yet if 'twere so, She could not sway her house, command her followers, Take and give back affairs and their dispatch, With such a smooth, discreet, and stable bearing, As I perceive she does: there's something in't That is deceivable.

Note return to page 350 †Chantry, means a chaple: Olivia was very sudden in kindling the passions of love, and now she's very sudden in urging the consummation of it.

Note return to page 351 ‡The fourth act is very trifling; indeed it is too short to afford much matter for praise, or censure.

Note return to page 352 *There is a great share of good sense quibblingly expressed, in this speech, and the Clown's remark is very just, that we gain more self-knowledge from foes, than friends.

Note return to page 353 †This line and the next are pregnant with peculiar force and saucy.

Note return to page 354 ‡Scathful, for destructive.

Note return to page 355 §Brabble, brawl or clamour.

Note return to page 356 *Alluding to a story in the romance of Theagenes and Chariclea, written by Heliodorus.

Note return to page 357 *The fifth act is considerably beyond the fourth, but not equal to the second or third; expectation is well kept up, and agreeably gratified at last. The epilogue song gives spirit to the conclusion, tho' there is very little meaning in it, except a trifling compliment to the audience.

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