Note return to page 1 *This short speech contains some very sensible and pertinent strictures on the pains, caprices and precariousness of love.

Note return to page 2 *If ever this scene of egregious quibble had any brightness in it, the rust of time has deeply cankered it; wherefore we have curtailed the more freely, and we hope justifiably.

Note return to page 3 *Flints would have been a more consonant word here.

Note return to page 4 †This part of the dialogue between Julia and Lucetta, is similar to the first scene of Portia and Nerissa, in the Merchant of Venice; save that here the confidante criticises the lovers; whereas the lady does it in the other piece.

Note return to page 5 *This ticklish wavering of a young, a delicate mind, upon being first seriously addressed, is very natural; indeed, upon all occasions our author appears minutely correct in mental operations, both philosophically and practically.

Note return to page 6 †This speech is a beautiful and delicate picture of a female in Julia's situation; assimilating herself to a testy babe is an admirable thought, containing a comprehensive idea for conception to work upon.

Note return to page 7 *Though a good deal of chat between females upon little matters is natural enough, yet we think reduction would make this part of the scene better.

Note return to page 8 †This point of discernment is well thrown in, to distinguish the knowing confidante, from the undesigning young lady.

Note return to page 9 §Shakespeare, according to the flow of his versification, accents the word importune wrong, by fixing stress upon the second instead of the last syllable; this trespass, however exceptionable, is, in so great and warm a writer, very pardonable.

Note return to page 10 *This act, with the slight omissions we have marked, would perform well, and be of an agreeable length. Valentine and Protheus should be pleasing figures, with an easy flow of expression; and Julia should by amiable appearance as well as tender utterance, claim our favour.

Note return to page 11 *There is a great share of humourous and picturesque fancy in this speech: Speed, well supported, must produce a laughable effect, and should manifest a quaint shrewdness of expression, and stiff archness of features, such as are necessary to equip Touchstone, in, As you like it.

Note return to page 12 *There is an uncommon, but no unnatural idea, in Silvia's device, of getting her lover to write for her to himself, and Speed archly insinuates an explanation.

Note return to page 13 *This little scene has the complexion of Romeo and Juliet parting in the garden, after the former has killed Mercutio; we have as much of the pathos here as could be expected; but we have had no clear idea how Protheus and Julia have made their intimacy so perfect.

Note return to page 14 *Launce's soliloquy has throughout a great share of pleasantry, but cannot be successfully delivered, or agreeably read, without clear conception and sound judgment.—The animadversions on his dog are admirable.

Note return to page 15 *We could wish the scene to begin here with the Duke meeting his daughter, &c. as what precedes is exceedingly childish.

Note return to page 16 *Protheus's character is here amiably and powerfully delineated; we are frequently led to wonder how Shakespeare could delineate so many similar personages with such abundant variety of colouring and preservation.

Note return to page 17 *Bragadism, a coined word of extraordinary fabrication; but we have Braggado, and Braggadocio, to countenance it.

Note return to page 18 *That Shakespeare perfectly knew the fickleness, as well as the unsteadiness of love, clearly appears by Romeo's change from Rosalina to Juliet; and here, from Julia to Silvia.

Note return to page 19 *Protheus seems to be not only loving, but also talking mad; we have endeavoured to reduce him into compass, though some lines marked have great merit, as indeed has the whole soliloquy.

Note return to page 20 *There is great fertility of fancy, great energy of affection, in this speech. Julia's character is much heightened by it; and a capable actress must profit by it considerably.

Note return to page 21 *As women did not perform in Shakespeare's time, we perceive he, as often as possible, avails himself of masculine habiliments.

Note return to page 22 †Never was a truer observation, than that professions violently impassioned have a small tendency to stability.

Note return to page 23 *Of the second act we have nothing to say more than of the first; nor, as we judge, much less; they are both very actable, and would probably meet very favourable attention.

Note return to page 24 *However plausible this discovery is, it reflects infinite disgrace upon Protheus, who appears not only a changeling in love, but a deliberate villain in friendship; two detestable points of character.

Note return to page 25 *Launce here again displays great originality, and spirit of humour.

Note return to page 26 *This scene of clownish repartee has great quickness, volubility of fancy, and peculiar originality; it relieves the graver scenes happily.

Note return to page 27 †This idea of dissolving obliterated affection is admirable; clear to every conception.

Note return to page 28 ‡Here is another adulteration of pronunciation, the second syllable accented for the third.

Note return to page 29 &verbar2;There is the most rascally predeterminate undermining, that we have met with; no degree of generous love, however interested, could descend thereunto; a noble passion can never beget a vile one, though it may exceed prudent bounds.

Note return to page 30 †This obsequious description is highly natural, the prescriptions in it admirably adapted: this appears to us also a respectable act; and very well appropriated to the stage.

Note return to page 31 *Shakespeare never forgot English references, else why Robin Hood and his friar at Verona? unless we suppose the story of that notable and famous robber to have been read, or related in Verona.

Note return to page 32 †It is remarkable that from Shakespeare's days to these, every culprit has made palliative circumstances his plea; however absurd, and contrary to justice.

Note return to page 33 *This Protheus is to all appearance as confirmed a scoundrel as Jago, though not so deep, and with less reason; for the latter urges jealousy of his wife; the former wants at any rate to get any woman he happens to like.

Note return to page 34 *This, like most other songs of our author, has more meaning than most musical compositions have.

Note return to page 35 *This is a fine sensible fanciful rebuff to Protheus.

Note return to page 36 *The reasoning in this speech, however dictated by the zeal of passion, is sensible and very feeling.

Note return to page 37 *Notwithstanding this soliloquy has peculiar characteristic oddity and humour, it is much too long; we have therefore pointed out the passages to be spared.

Note return to page 38 †There is great indecency contained in Launce's conclusive sentiment.

Note return to page 39 *Julia under disguise pleading for her rival to her own admired swain, is a repetition of several devices in passages past.

Note return to page 40 *This is exceedingly fanciful, beautiful, and applicable.

Note return to page 41 †This prognostication of periwigs for female heads, seems to predict the monstrous unnatural accumulation of hair at this day. There is perhaps greater uniformity in these four acts than we commonly meet with.

Note return to page 42 ‡This situation interests much and properly for Silvia's safety.

Note return to page 43 †This is an exceeding just and spirited rebuff to the infamy of Protheus.

Note return to page 44 ‡This is a just remark, though it had been more forceable in any but a distinguished deceptive and very bad character.

Note return to page 45 *The reproaches against deceptive friendship, are very just and instructive.

Note return to page 46 †This appears a concession rather too easily wrought for so deep a dye of guilt.

Note return to page 47 *This reconciliation is amiable, and very well calculated to bring on the catastrophe.

Note return to page 48 *This, like the other acts, is much upon an equality; however the piece closes well, because probably.

Note return to page 49 *This title is so far fortunate as to furnish considerable latitude for comic ideas; pleasant situations and laughable incidents.

Note return to page 50 †This introductory scrap is surely too trifling and insignificant, to deserve utterance or notice.

Note return to page 51 *His lordship in this speech starts an innocent and not improbable suggestion of pleasantry, for liquor does in many persons obliterate all trace of what has happened during its possession of the objects.

Note return to page 52 *Shakespeare missed no opportunity of realizing some characters, by introducing others as fictitious, and his regard for the stage is properly manifested by taking care that exalted characters should ever treat the actors with respect.

Note return to page 53 *We think the following marked lines are rather superfluous, and consequently heavy for public expression, especially coming so soon after the directions given for Sly's treatment in his state of mock grandeur.

Note return to page 54 *All that comes between this and the Lord's next speech, though there are some sweet poetical ideas, seems dwelling too long upon the matter, unless some humorous blundering remarks upon the classical allusions of the new made Lord.

Note return to page 55 *Catharine should be a commanding figure, and have features expressive of shrewishness; we don't mean an homely face, but features flexible to haughtiness and strong passions.

Note return to page 56 †A very rough ungentleman-like expression this, before a father, however violent the daughter may be.

Note return to page 57 *Some critics may ask where is the occasion for Tranio's telling his master of Bianca's situation, when both he and the audience have heard it? But, we presume, it is, from a supposition that Lucentio is entranced or infatuated, to awaken his recollection; for which end he naturally recites the particulars before mentioned by Baptista.

Note return to page 58 *The introduction of Italian scraps, when the characters otherwise speak English all through, is fantastical; to say the truth, the quarrel between Petruchio and Grumio, appears too farcical to deserve representation; we have therefore marked the superfluous passages.

Note return to page 59 *This and the preceding speech of Grumio exhibit characteristic humour; and the performer who personates him, should possess a dry shrewdness of expression, and archness of features.

Note return to page 60 *This speech manifests a spirited grandeur of idea; the allusions speak our author strongly, though strictness of climax is not maintained; but that objection, in comic writing, is trifling.

Note return to page 61 *There is a great deal of plot, well conceived, and good dispositions in this Act: it contains some humour, and a considerable share of more elevated fancy; but (including the introduction) must prove much too long for the stage, even as we have curtailed it.

Note return to page 62 *As all preceding this is an unessential aggravation of Catherine's turbulence, the second Act would undoubtedly begin better here; especially as it relieves Bianca from being seen in such an aukward, disagreeable situation.

Note return to page 63 *This description of the treatment he has met, is most humorously picturesque, and affords food for laughter in every line.

Note return to page 64 † Petruchio's idea of dealing with Catherine by contradiction, is a very politic proposition for one of her turbulent character; as undoubtedly nothing sooner, or more effectually subdues a violent temper, than a real or affected one of the same kind in opposition.

Note return to page 65 *This conversation, though very spirited, is much too long; besides, some of the lines marked for omission are unpardonably indecent.

Note return to page 66 *This is a very masterly speech, as the pleasant ironical ideas it contains are judiciously, and by no means rudely, thrown out.

Note return to page 67 * Through the whole scene, Petruchio is drawn in a very masterly and original stile of humour; he requires great and outrè comic talents to keep pace in representation with the author; genteel extravagance of deportment, and arch insolence of features, are the chief external merit.

Note return to page 68 †Baptista here shews himself, as too many fathers in private life have done, of a mean selfish despotic temper; his daughter must submit according to his idea, where fortune beckons.

Note return to page 69 *There is no occasion for this or the preceding speech, and neither contains any thing worthy notice.

Note return to page 70 *The whole of this scene is so immaterial, so improbable, and so strained for humour, that our ideas consign it to neglect: the act, from Petruchio's courtship, must ever please, and rises considerably above the first.

Note return to page 71 *This speech contains a whimsical luxuriance of risible description; there is abundant peculiarity of grotesque idea; Biondello requires great and uncommon distinctness and volubility, which are rarely found together.

Note return to page 72 *The overbearing, and seemingly frantic spirit of authority, Petruchio suggests and assumes, must keep an audience in high spirits, and cannot fail to delight an intelligent reader; so poignant are his expressions, and so well contrasted to Catherine's.

Note return to page 73 *Grumio is extremely laughable through this scene; but very difficult for stage execution, there is such a degree of rhapsodical crampness in his ludicrous descriptions.

Note return to page 74 *The extravagant degree of tyranny and caprice, exhibited by Petruchio, is admirably conceived, and equally expressed; it requires great force and variety in action.

Note return to page 75 *Petruchio, in this speech, shows policy, spirit, and good sense; the lines, however, which we have marked, may well be spared, for the performer's sake, and are not very valuable to the reader; from this husband and his man Grumio, the third act gains remarkable vivacity.

Note return to page 76 *Though what we have marked for omission seems to contain something essential to the plot, yet it is in our view rather flat and superfluous; and why the character introduced as a pedant should be so stiled, we know not.

Note return to page 77 *Grumio's treatment of his mistress in this scene is exceedingly comic; and the humiliated termagant Catherine, is very well drawn.

Note return to page 78 *The oblique manner in which Petruchio works upon the refractory disposition of his crooked rib, is very ludicrous and well conceived.

Note return to page 79 *The whole of this scene is unusually pleasant; there is a masterly mixture of character, and the dialogue is apt, spirited, and concise.

Note return to page 80 &verbar2;The variations of Petruchio are naturally conceived and not too much multiplied; his expressions are very poignant, and happily adapted.

Note return to page 81 *The latter part of this scene is flat and unessential; the Act has in it some passages of peculiar spirit, and several situations are very risible; but some other parts are a mere continuation of the plot.

Note return to page 82 *The servile concessions of Catherine are a very just picture of an over-bearing tyrannical mind, broke down to submission; for the most imperious, violent, and pragmatical, while improperly indulged, are the most obsequious, when properly restrained.

Note return to page 83 *Biondello's affected ignorance of his old master, is a diverting suggestion; and the consequence of Vincentio's beating him, produces very considerable entertainment.

Note return to page 84 *The confusion of this scene is, without exaggeration, a most pleasant appeal to feelings of a lively nature; performed with spirit and volubility, it must have a very happy effect.

Note return to page 85 *As we wish Sly totally omitted, we have marked this little unnecessary intervention.

Note return to page 86 *This speech must ever stamp credit on its author. There is a fine display of relative knowledge, thrown out in a nervous, yet very intelligible manner; and we wish that, not only every unmarried, but also married lady, were perfect in the words and practice; however, it is too long for stage utterance.

Note return to page 87 †This piece should undoubtedly end at the line marked note (*) in the preceding page; all that follows is monstrously insipid; and we are rather sorry to add, that the fifth Act does not rise above the others as it ought; in point of merit we think it stands but second.

Note return to page 88 *From so grand an assemblage of eminent characters, as we perceive in the drama of this play, some transactions, situations, and sentiments, particularly interesting, may reasonably be expected; investigation will gratify, or defeat our hopes.

Note return to page 89 *This Prologue, chiefly historical, makes a necessary, though not powerful apology for taking up so disjointed a subject, as that of the following drama; there is a considerable share of poetical merit in this preamble.

Note return to page 90 *Troilus here finely describes himself, in a far gone state of amorous imbecillity.

Note return to page 91 †There is infinite beauty and strength of expression in this passage.

Note return to page 92 *Such far-fancied allusions as this are peculiar to Shakespeare; as he introduces and expresses them, though strongly tinged with hyperbole, they must highly delight every intelligent reader.

Note return to page 93 *Lovers are allowed strange flights, therefore this speech, however fanciful and extravagant is far from being unnatural in the mouth of Troilus.

Note return to page 94 †It is rather a pity our author should bring on such a character as Æneas, and give him so slight a share in the drama.

Note return to page 95 *If the play began here it would be as well, or, as we think, better than with the preceding scene; but that we should, in that case, be less acquainted with the disposition of Troilus.

Note return to page 96 †A most beautiful idea this, to make even the vegetable world weep for, and sympathize in the carnage and devastation of war.

Note return to page 97 *This speech is replete with description admirably picturesque; exceedingly characteristic, and as pointed as any thing we have ever met; the allusions are very extensive, but applied in a masterly and justifiable manner.

Note return to page 98 †All from this line we have presumed to mark, as fitter to be omitted than retained.

Note return to page 99 *There is no doubt but Shakespeare meant Pandarus as a character of humour, but it is in a very peculiar stile, and requires very extraordinary talents to personate him exact to the author's intention.

Note return to page 100 *It is again matter of doubt whether the piece would not begin better here, than with the first or the second scene; but for one reason already cited.

Note return to page 101 †The idea of particular concern of jaundicing the cheeks is excellently conceived; and all the sentiments in Agamemnon's mouth are pleasingly and strongly expressed.

Note return to page 102 ‡Though Nestor is confessedly silvered with age, yet we know not, how he can be said to be hatched in silver, unless we form the predictive idea of having been born to a state of longevity.

Note return to page 103 &verbar2;The subject of subordination is admirably delineated in this speech.

Note return to page 104 *In Nestor's speech (page 172, line 29) there is the singularly odd idea of the globe's, that is the terrene parts of it, being made a toast for Neptune; here it is described as a sop.

Note return to page 105 *However shrewdly characteristic this speech may be, we think it much too long, and too redundant for stage-delivery; therefore we have marked those lines which, in our view, may be best spared, if this piece should ever encounter the stage.

Note return to page 106 *This speech has strong painting in it, letting us well and pleasingly into the characters of Achilles and Patroclus.

Note return to page 107 †There is a very commendable idea broached here against those who prefer immediate action to prescient calculation; but with deference to our author, we think he makes Ulysses deliver himself in terms too complicate and cramp.

Note return to page 108 *This challenge, though a whimsical one in its nature, has some thing very manly and spirited in it.

Note return to page 109 *Ulysses shows much of the sly, slow politician, respecting Achilles; but no great degree of honesty.

Note return to page 110 †A most low idea concludes this Act; which is through the whole uninteresting, and by no means advantageously calculated for representation.

Note return to page 111 *It is presumed, that the second Act would begin here to advantage; the preceding scene is surely too immaterial to be retained.

Note return to page 112 †Though we doubt whether this frenzied prophetess would have a serious effect in representation, yet we think she is not unaptly introduced here; had there been more fancy, more enthusiasm of idea thrown in, it must have enlivened the scene much.

Note return to page 113 †The soft moral sensations, which appear in this speech, deserve great approbation and strict attention, as sensibly appealing to one of the tenderest feelings of life, though seldom properly attended to; we mean, matrimonial chastity.

Note return to page 114 †All the chiefs, both Trojan and Grecian, require dignified externals, and graceful oratory, for stage representation.

Note return to page 115 *Thersites aims much at the ludicrous, but is a little too licentious in some of his ideas, and therefore should be occasionally retrenched.

Note return to page 116 †This conversation gives a most whimsical idea of these reputed great men; though by no means inconsistent with the characters, page 175, which Ulysses gives of Achilles and Patroclus, &blquo;breaking scurril jests,” &c.

Note return to page 117 ‡There is a most commendable degree of dignity and spirit in this speech of Agamemnon's.

Note return to page 118 &verbar2;This is an excellent stroke at self-sufficiency, which must ever impair merit.

Note return to page 119 *Ajax, like most other proud men, declares he knows not what pride is. Ulysses here, according to the character of his policy, and knowledge of men, smooths over the master of the seven-fold-shield very shrewdly.

Note return to page 120 *The principle of flattery is well maintained through this scene; and the act in general has much more merit and importance than the former.

Note return to page 121 *The act would certainly begin better here, than with the preceding buffoonery.

Note return to page 122 *What music might make of this song we will not pretend to determine, but in its present appearance there is more jingle than meaning. We must however recollect the whimsical character of the singer.

Note return to page 123 *The ideas in this speech are of a very glowing and poetical nature; they speak powerfully to susceptible minds.

Note return to page 124 *This scene is rich with very fanciful feeling ideas, worthy of our author, but Pandarus is a very great disgrace to them, and the conclusion is rather fulsome; some lines are therefore marked for omission.

Note return to page 125 *Whoever has read cardinal Wolsey's admirable soliloquy upon the decline of fortune, would imagine our author had exhausted his ideas on the subject; but the preceding lines, with many other similar passages in his works, show he was inexhaustible.

Note return to page 126 *That most pure spirit of sense, is a very refined allusion to the optic powers.

Note return to page 127 *This speech contains much matter, conveyed in a masterly manner, but is rather too prolix to bear speaking to the general ear; argumentative harangues on-the stage, should be concise. The lines marked have full as much merit as the others, but may be best spared.

Note return to page 128 †An idea more beautifully expressive was never suggested, than this contrast between effeminacy and heroism.

Note return to page 129 *Thersites is exceedingly pleasant and fanciful in this account of Ajax's vain elevation.

Note return to page 130 *The scene we have noted between Troilus and Cressida, the conduct of the Grecian leaders towards Achilles, and his sensibility and reflections thereon, give this Act much more importance than either the first or second.

Note return to page 131 *The subsequent part of this scene should unquestionably be expunged. It relates not to the story, and Diomed's expressions trespass strongly on decorum.

Note return to page 132 †To abridge indecency, trifling, and superfluity, we have marked what precedes for omission.

Note return to page 133 †Cressida should have elegant delicacy, and considerable powers of expression.

Note return to page 134 *This speech is truely Shakespearean, and very favourable to the actor.

Note return to page 135 *A poor pun, rather unworthy Ulysses.

Note return to page 136 *This panegyric upon Troilus, so ably expressed, by so eminent a character as Ulysses, does Troilus great honour; if it has a fault, it is saying more than almost any man can merit.

Note return to page 137 *If the arguments which Hector uses are just, should they not rather have prevented the encounter entirely, than interrupted it? The sensibility of Hector, however, in being unwilling to spill blood akin to his own, is very consistent with the piety and justness of his character.

Note return to page 138 †A delicate and admirable compliment to a brave man's humanity, who, though regardless of life himself, will not take it unnecessarily from another.

Note return to page 139 ‡A most natural effusion this of a brave mind, though encircled with an enervated body.

Note return to page 140 *The challenge of Hector and Achilles is brought about somewhat in a brutal manner, much beneath such exalted personages; however, the fourth act reduced must appear the best hitherto in representation.

Note return to page 141 *The Act should undoubtedly begin here; every preceding syllable seems to us much fitter for rejection than acceptance.

Note return to page 142 †A very fulsome, unpleasing line; attempting that satisfaction it destroys.

Note return to page 143 ‡This short part of the first scene is nearly as superfluous as what goes before it; indeed a number of entries in this play seem more calculated for protraction than use.

Note return to page 144 *This line and half throw out somewhat very gross.

Note return to page 145 *How came potatoes known at Troy? they were very little known here in Shakespeare's time. Besides, how this root particularly connects with luxury is by no means clear; we wish it omitted.

Note return to page 146 *There is an intolerable quantity of trivial matter to bring about this challenge, without any thing tragically affecting or comically amusing.

Note return to page 147 †This remark is practically just, but reflects much at present on Cressida.

Note return to page 148 *Very hyperbolical the latter part of this speech, but the frenzy of Troilus justifies it.

Note return to page 149 †Thersites is rather too free in his expressions again; wherefore the scene had better close with the departure of Troilus.

Note return to page 150 ‡Nothing could be more concisely or more emphatically expressed than this true principle of courage.

Note return to page 151 ‡The scene would have much more spirit to be represented as we have marked it.

Note return to page 152 §Unless for a small matter of laugh, which must ensue from Thersites in this scene, we could wish it consigned to oblivion.

Note return to page 153 ‡The complicate ideas of the whale chasing a scull of small fish, or a mower sweeping down grass, magnify Hector's character, as an overbearing warrior, very much.

Note return to page 154 †This is a very odd whim of Achilles to leave his great antagonist so indeterminately, when a regular challenge had passed between them.

Note return to page 155 ‡All these excursionary scenes are much too full of action for representation.

Note return to page 156 †This is a most cowardly mean conquest of Hector.

Note return to page 157 ‡This shows a most brutal conqueror, or rather warlike assassin, but is consistent with history.

Note return to page 158 §This short scene has no business here, and had better be omitted.

Note return to page 159 ‡This play has a very weak unworthy conclusion. In some parts fine fancy and great poetry is to be found; but on the whole, the fable is too incompleat, the scenes too short, and too quickly huddled on each other to give much chance for success in action.

Note return to page 160 *When we meet two such celebrated names, and consider our author's great abilities, we are naturally led to expect a very capital piece. Those characters are accordingly very greatly supported; but the whole piece, as it stands here, seems rather too incorrect and confused for action.

Note return to page 161 *Antony and Cleopatra should both possess a compleat elegance of figure, and an emphatic, yet easy flow of expression: the former should appear all openness; the latter ought to show great art, covered with much insinuative plausibility.

Note return to page 162 †The whole of this scene might well be spared in representation: it has a blameable relish of indecency.

Note return to page 163 *Antony here expresses a great degree of philosophic resolution, when he says, “Things, that are past, are done with me.”

Note return to page 164 †There is no position more certain than that advanced in the foregoing lines; many children have wished parents dead, yet have regretted the loss of them afterwards, and so of husbands and wives.

Note return to page 165 *The would-be-wit of Enobarbus in this speech had better be omitted.

Note return to page 166 †This reply to Antony should be suppressed, as conveying a fulsome, needless idea; impertinent to Antony, and totally beneath the subject of conversation.

Note return to page 167 ‡A fine observation is contained in this parenthesis, consonant to that sentiment mentioned in the note, page 269.

Note return to page 168 †The fine woman, fond of her own influence, is here well displayed.

Note return to page 169 †Nothing could be devised more artful, or more natural for a designing woman, than the method Cleopatra takes, in this scene, to avail herself of Antony's imprudent attachment.

Note return to page 170 †A fine, but odd method of swearing by the sun.

Note return to page 171 ‡The marked speeches would reduce this scene to advantage.

Note return to page 172 †Octavius, in this short scene, displays the contemptible situation of Antony in a spirited and conclusive manner; a man, on whom the public good depends, should be peculiarly attentive to the application of his time, and the suppression of private passions.

Note return to page 173 ‡It is no small proof of Shakespeare's warm attachment to this just and benevolent sentiment, that he has produced it, though in varied shapes, three times since the first scene of the play.

Note return to page 174 †Shakespeare's minute knowledge is here manifested; as horned cattle love muddled, which may well be called gilded, water.

Note return to page 175 ‡This contrast of what Antony was, to the state when Octavius described him, is well contrived, and executed in a masterly manner; the soldier-like picture of past hardiness strikes forcibly at present effeminacy.

Note return to page 176 †The speeches marked for omission have great indecency, and little matter relative to the piece.

Note return to page 177 *This is rather an objectionable exclamation, unworthy of a person in middling station, much more so of a royal character. This act has so little matter, though much poetry in it, that we are doubtful of its effect on the stage.

Note return to page 178 *This well points out the weakness of human supplications, and properly inculcates Juvenal's precept, that we should pay due humiliation to Providence, and only pray for, “Mens sana in corpore sano.”

Note return to page 179 *This condescension does Antony great credit; it is sensibly conceived and suitably expressed.

Note return to page 180 *The luxury of Antony is well pointed out by Enobarbus, and the description he gives shortly after of her meeting Antony is admirably poetical. Dryden, in All for Love, has boldly ventured a comparison upon the identical circumstance; but, though capital, we think him inferior to Shakespeare, though he has disposed the description better, by putting it in Antony's mouth.

Note return to page 181 *As we hate fortune-telling, and would rescue Antony from a little of the obloquy he throws on himself, we have marked this short scene for omission.

Note return to page 182 *The vulgar and virago spirit of Cleopatra, shames every idea of her character; she is in this scene a perfect Covent-Garden amazon, wherefore, to soften her as much as possible, we curtail.

Note return to page 183 *This scene, as having little matter of any use, we consider much better to be disposed of than retained; for what is mentioned as the consequence of Antony's marriage with Octavia, is sufficiently and more properly shown in the sequel.

Note return to page 184 *This incoherent scene of revelry has very little concern with, or influence upon, the plot; wherefore we think the act should end at the going off of Cæsar, Pompey, and Antony, after their amicable agreement.

Note return to page 185 *The character of Pompey is here set in a very amiable light; to decline an unhospitable mode of taking off powerful competitors, shows very becoming dignity of mind; nothing can manifest a baser principle than taking advantage of friendly confidence.

Note return to page 186 *This second Act does not contain much matter for representation, any more than the former; but the description of Cleopatra by Enobarbus will, to a judicious reader, atone for greater deficiencies.

Note return to page 187 *The greatest and most ambitious spirits are extremely apt to envy competitors in glory; therefore Ventidius justly remarks, that under a warlike employer, it is rather hazardous to gain too great a portion of glory.

Note return to page 188 *The scene would certainly begin here with more advantage than where it does.

Note return to page 189 *This is a most beautiful simile, the swan's feather being delicately adapted to the lady's softness, and the swell of the tide to a stagnation of passions.

Note return to page 190 †In this short scene Shakespeare shows intimate knowledge of the feelings and caprice of such a woman as Cleopatra; one so filled with vanity and ambition; her questions and conclusions, in her own favour, are admirably thrown out.

Note return to page 191 *This little scene seems calculated merely to give Octavia some time for her journey; but the breaches of unity are so frequent and so violent in this piece, that such a point is of little consideration.

Note return to page 192 †There is great exaltation of idea and splendor of expression in this address to Octavia: though external pomp is to sound sense very immaterial, yet royal characters, without it, would lose much of their consequence.

Note return to page 193 *This is a very sensible observation; for indolence is very apt, upon the most probable events, produced by itself, to cry out, “Who would have thought it?” though common sense must easily have foreseen the consequences in their true shape.

Note return to page 194 *The prejudiced obstinacy, consequently the folly, showed by Antony, is one out of many thousand instances, that a man of very eminent abilities, is occasionally capable of most glaring errors.

Note return to page 195 *There is something pathetically affecting and natural in this address which the defeated Antony makes to his followers.

Note return to page 196 †Adverting to his former martial atchievements is, in his adverse situation, very natural and beautiful.

Note return to page 197 †Antony, through this scene, manifests an irresistible attachment, though he feels strongly its disgraceful ruinous effects.

Note return to page 198 ‡This is a very extravagant but an admirably fine idea.

Note return to page 199 ‡Enobarbus's remark upon so Quixote like a proposition as that of Antony, is sensible and conclusive.

Note return to page 200 §This idea of sticking to the skirts of adversity, which most worldly men eagerly shun, is finely conceived and does its author honour.

Note return to page 201 ‡This unhospitable savage proceeding, so inconsistent with the laws of all civilized nations, renders Antony less an object of regard and pity than he otherwise must have been.

Note return to page 202 ‡Would not this scene be advantaged by omitting the distinguished lines, as well as the return of Thyreus, after such an ignominious punishment?

Note return to page 203 ‡Cleopatra expresses herself in this speech with much energy of fancy and affection.

Note return to page 204 ‡Antony, though like a lion in the toils, and sensible from whence his dilemma proceeds, perseveres like all weak men in the gratification of a delusive injurious appetite.

Note return to page 205 §The third Act rises much above the second, and the spirit and expressions of Antony in this last scene, are very masterly.

Note return to page 206 *This, and the two following scenes, may be better spared than retained in action; they add to a superfluity of business, and explain nothing new, wherefore we have ventured to mark them for omission.

Note return to page 207 *The three-nooked world seems an odd phrase, unless we consider that Antony speaks of the triple partition between Octavius, Lepidus, and himself; arrogantly and ignorantly presuming there was no world beyond those bounds which the triumvirate swayed.

Note return to page 208 †The contrition here shown by Enobarbus is very well, because very feelingly expressed.

Note return to page 209 ‡This little scene of skirmish, in our view, deserves no other notice than marks of omission.

Note return to page 210 *In every speech almost our author has shown Antony's reigning foibles, love, luxury, boasting, and ostentation. This short scene is most spiritedly supported.

Note return to page 211 †If we can suppose, and we have no other intimation, that Enobarbus dies through sheer grief of his ingratitude to Antony, it shows great and sensible feeling; though the corrective part of it should, no doubt, have appeared sooner, and to more effect.

Note return to page 212 *Would not this scene begin better here, than by retaining any of the preceding matter?

Note return to page 213 †There is an amazing dignity and strength of idea in this speech.

Note return to page 214 ‡There is no manner of occasion for retaining this short scene; as the purport of it is afterwards sufficiently explained: Eros may properly, and more significantly, come on at Antony's first call.

Note return to page 215 &verbar2;The dissolvable, vapourish state of fortune's most striking appearances, is excellently depicted in the allusions Antony here makes; every state of human nature, almost every day, proves the truth of this contracted, but just and expletive picture.

Note return to page 216 *Here the portrait of a man, over-powered with amorous credulity, is most faithfully described. Antony is by no means a valuable, yet he is occasionally a pitiable character; upon the same principle that we admire heroism, we commiserate, under particular circumstances, folly.

Note return to page 217 †If there can be an argument for a man's desiring, or contributing to his own death, Marc Antony certainly here advances it, and with dignity of feeling: desiring assistance in this point from a friend, or a dependant, was common amongst the Romans, but we think not justifiable to ask or be complied with.

Note return to page 218 *Though this scene is enriched with some great sentiments as to poetical fancy, and is in favour of Cleopatra, yet we are doubtful how it would answer in representation, if the plan and directions of the author were followed. There is much more merit than in several scenes, which must necessarily be retained.

Note return to page 219 †We have no doubt of pronouncing the fourth Act to be more important than any of the preceding, yet, as it stands originally, it is extremely disjointed and tedious: we have, without additions to connect, endeavoured prudently and advantageously to retrench it.

Note return to page 220 ‡Shakespeare never missed any opportunity of advancing or supporting the extravaganza stile respecting prodigies, when he had Roman characters to deal with; and to say truth, his ideas kept vigorous pace with that ideal nonsense.

Note return to page 221 *It was not his own but Enobarbus's sword ended him, as appears precedently; our author nevertheless cannot be deemed guilty of an error or contradiction. It was very natural for Dercetas to suppose he had slain himself with his own sword.

Note return to page 222 †Octavius's panegyric on his deceased friend, and late foe, is generous, sensible, and manly.

Note return to page 223 *Cæsar here shews double-dealing, ambition, and much more of the politician than the honest man.

Note return to page 224 *Cleopatra, in this speech, displays great and becoming magnanimity of spirit, finely opposed to the equivocal treacherous behaviour of Octavius.

Note return to page 225 &verbar2;This panegyric upon fallen Antony is liberal and affectionate; the fancy and imagery are exquisite, nor does the expression fall short of them.

Note return to page 226 *Notwithstanding the fifth Act wants the assistance of Antony, who, as a main pillar, should not have been cast down so soon, yet it is rather the most regular and affecting of the whole: Cleopatra in it is very consistent; and supported by an actress possessing grace, power, and feeling, must work very tragic effects.

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