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The long task of explaining, and of accounting for emendations,— borrow'd as well as new, and of all magnitudes,—being thus brought to a conclusion, here the pen might be drop'd, and leave taken of (we hope) an indulgent reader: but as it may have happen'd, that, from what is scatter'd up and down in these “Notes” upon two subjects,—the time of writing the plays, and the measures that they are writ in,—a fuller knowledge of both may be the wish of some persons, it shall be endeavour'd to gratify it in the best manner that we are able. And first of the first,—The ORDER and TIME of writing. Every note of time that the plays themselves have afforded, or but seem'd to afford, has been singl'd out and remark'd upon; and it has generally prov'd, that the notices gather'd from thence have co-incided with other documents that carry conviction with them: These documents are,—the plays' earliest impressions; entries in a book of that time; and the witness of writers in it: Of one capital writer full mention is made in a note at p. 7. of the “Introduction,” and before it is one that speaks of the entries; their evidence is the compleatest we can have, and here follows it's whole and perfect remainder.

In this Extract, the title of the “m. w. of W.” is—“Sir John Falstaffe & the merry Wives of Windsor;” of “k. L,”—“M^r. William Shakespear his History of King Lear;” of “R. 3,”—“Richard the 3^d. with the Death of the Duke of Clarence:” The “Richard” of 1594, bears the title of—“Richard the 3^d. with the Death of Shore's Wife; the “Lear,”—“Chronicle History of Leire King of England & his 3. Daughters; and the “H. 5.” of that year is, doubtless—“The famous Victories of Henry V.” That the “A & C.” of 1608, or the plays that Meres speaks of,—“a. w. t. e. w,” (in him— “Love's Labour's won”) “c. of e, & 2. g. of V,”—had impressions before the first folio, is not probable; making, as they do, a part of that list which the reader has seen an account of in p. 5. of the “Introduction:” of the existence of three of them, (the three last) in the year 98, and of the other in 1608, Meres and the entry are full evidence, but not of any thing further. The “H. 8.” of these entries was writ by S. Rowley; and the writer of their first “R. 3.” might be D^r. Leg; but who their “H. 5.” was produc'd by, and their first “Lear,” no accounts are come down to us: This piece, and the piece intitl'd —“Taming of a Shrew,” have each a second entry in the Extract communicated, reason unknown; the entries preceding the play's impressions each a single year just, as is the case of some others. Further, there is handed down

to us in it—a “Locrine” of 1594; (*1595.) a “Thomas lord Cromwel” of 1602; (*1613.) a “Pericles” and a “Yorkshire Tragedy” of 1608; (*1609 & 1619.) and the date of the Poet's “Sonnets” is the same there as in their actual impression,—1609.

Matters curious in themselves, and connected with Shakespeare, but foreign to the enquiry propos'd, having got into the Extract, seperation was to be made: which being now done, and way clear'd to such of the plays contain'd in it as are confessedly his, take a—

It is offer'd with some confidence on the part of the drawer-up;

and will (at least) be found sufficiently just for that critick to work by, whose object is—weighing this Author's pieces, and adjusting the comparative merits of them: Three of those pieces (the “k. J; H; & t. of y^e s.”) have each a double place in the List, and for this reason;—two we know with full certainty to be pieces quite distinct from another two that bear a like title, and have grounds very sufficient for saying near as much of the “Hamlet;” they must therefore have been wrought up anew, and at a new period, and this period we have ventur'd to guess at: The lights we had to proceed by, as well in these as the rest, (exclusive of what the Extract has yielded) appear in different Notes that must be resorted to severally by the dispos'd to examine them; and, to make examining easy, reference is subjoin'd; the letter after each title directing to certain numerals, and those to Notes on that play where this matter is handl'd: Further, the engager in this subject should take this along with him;—that, in all or most of these plays, some evidence of their date rises from out the style and the numbers of them, and he will observe in a case or two that the opinion conceiv'd of it rests wholly on these particulars; which, if he has taste, he will not think should be set aside as incompetent.

Difference of duration runs through all the parts of which speech is compos'd,—it's letters, it's syllables, and it's words; some vowels are shorter than other some, and vowels in general shorter than most consonants; and these too differ among themselves, the open being longer than the liquid, and the close longest of all: Syllables, which are constructed of letters, must have difference in them according as they are form'd; and from their infinitely-vary'd durations a vary'd melody rises that is the radical principle of what in speech is call'd—harmony. But when syllables meet together in words, or in sentences where the word is a syllable, the ear finds itself struck by a duration distinct from the other, and overcoming that other in all instances: The agent in this duration is—voice; which, if made to fall on one syllable, is constrain'd to relieve itself in the next; and has it not in it's power to lay an equal and several &grq;&gre;&grs;&gri;&grst; (for that is the term in use) upon even two contiguous syllables, though in different words; except a rest intervene, which if the sense makes not, voice must. Of this thesis, monosyllables have only a capability; and it falls on them, sometimes with intervention of one syllable, sometimes of two; or of even three in some cases, but those are rare: when one only intervenes, and no circumstance chances to encrease it's duration, that thesis is weak: Dissyllables have one, and that strong; and the word of three syllables the same, where it's seat is the second; but if another has it, then is that trissyllable provided of two of them, of which one only is strong: in words exceeding that measure,—whether of four, five, six, or even more syllables,—the thesis is mostly alternate, and may reach to four; but whatever the number of them, one is always predominant as was said of the other words, and for such as are of that nature the proper title is—Accent; the weaker, and that upon monosyllables, are best distinguish'd by—Ictus, which will be the term in what follows.

Thus, by natural necessity, a difference is establish'd in syllables, that is the true basis of a Time that is call'd—numeric: Such of them as are acted on by the voice in either of the ways above-spoke of, are render'd long by such acting; (long, potentially; for the verse-man makes free with them, as we shall see) and the relief that must follow it causes shortness, but in that too is licence: and this acting and suspension of acting meeting always in speech, and forming a sort of unison, a relief and it's thesis are consider'd as one member, and call'd—a Foot: if the relief preceeds, the foot is call'd—an Iambus; if the thesis,—a Trochee; and as these two, with certain licences proper to them, will be found adequate to the purpose of accounting for all the measures in use with us, lyrical and heroic, it will perhaps be admitted, that they only have a right to the epithet—proper, and that improper is fittest for some feet that will be spoke of hereafter.

Verse is measur'd by Feet, in a process call'd—scansion; and five feet ordinarily, with addition now and then of a sixth, is the complement of the line that is call'd—heroic: The feet are sometimes wholly Iambi, as thus—

or sometimes admit the Trochee among them,—

Which admission of the Trochee is subject to great constraint at this present; the foot rarely appearing in the Heroic of modern poets, but at a line's beginning, or after some great pause: that of Shakespeare introduces it every where, (it's fifth foot excepted) and under all circumstances; as may be seen in this one couplet, which ends a speech of Macbeth's at p. 14:—

and he is at times so profuse of them, that he has verses in which the

Trochee outnumbers the Iambus; as witness these which are given to his Richard the third,—

and this other which comes from Troilus, in 83. of that play,—

the examples are very perfect and full, and want support from no others; but might have it, if necessary, from many hundreds. The reason of this admixture, is—the close relation the feet bear to each other, having no difference but in their syllables' order: And hence too it is, that, in what we may call the lyrical parts of him,—his speeches under five feet,—we find him changing his measure; passing from the Iambic to the Trochaic, and vice-versâ, and not a single time only in one speech; a strong instance of which is that fine soliloquy which closes act the third of his “m. f. m:” These lyrical Iambics, and others elsewhere, consist of four entire feet; his Trochaics, of only three and a semi-foot: and both the one and the other admit the same interchange, in different parts of them, that is practis'd in the Heroic; Trochees ent'ring the Iambic, and Iambi the other line; as into this, for example,—

presently upon which comes a signal diversity, belonging to these measures, that will be spoke of hereafter.

More observable still,—as being a perpetual accompaniment, which the Trochee is not,—is that property of the Heroic which was barely mention'd of late, videlicet—the Pause: this it owes to necessity, as the syllable does it's relief; for no entire verse can be pronounc'd without a rest in some part of it or other, and that rest is—the pause: it may be plac'd without harshness, and even with great advantage to general melody, in any one part of it; only, if very near the beginning, or near the end, there is usually (perhaps, always) a second pause aiding it, as may be seen in the examples that follow.

1 & 2. Sha.
Stay, &verbar2; you imperfect speakers, &break; tell me more: D^o.
Might be the be-all &break; and the end-all &break; here,

But here, &verbar2; upon this bank &break; and shoal of time, D^o.
What, sir, &verbar2; not yet at rest? &break; The king's a-bed; Mil.
And over them &break; triumphant Death &break; his dart
Shook, &verbar2; but delay'd to strike, &break; though oft invok'd
With vows, &verbar2; as their chief good, &break; and final hope. D^o.
&lblank; Night with her will bring
Silence; &verbar2; and sleep, &break; list'ning to thee, &break; will watch.

3. Sha.
Art thou not, &verbar2; fatal vision, &break; sensible
To feeling, &verbar2; as to sight? &break; or art thou but &c. Mil.
And this ethereal &break; quintessence of heaven
Flew upward, &verbar2; spirited with various forms,
That rowl'd orbicular, &break; and turn'd to stars
Numberless, &verbar2; as thou see'st, &break; and how they move:

4, 5, & 6. Sha.
That memory, &verbar2; the warder of the brain,
Shall be a fume, &break; and the receit of reason
A limbeck only; &verbar2; When in swinish sleep
Their drenched natures lye, &verbar2; as in a death, &c. Mil.
Then feed on thoughts &verbar2; that voluntary move
Harmonious numbers; &verbar2; as the wakeful bird
Sings darkling, &break; and in shadiest covert hid
Tunes her nocturnal note. &verbar2; Thus with the year &c.

7. Sha.
Rebellious head, &break; rise never, &verbar2; 'till the wood
Of Birnam rise, &break; and our high-plac'd Macbeth
Shall live the lease of nature, &verbar2; pay his breath
To time, &break; and mortal custom. &verbar2; Yet my heart &c. Mil.
In factious opposition; &verbar2; 'till at last
Of middle age one rising, &verbar2; eminent
In wise deport, &break; spake much of right and wrong,
Of justice, &break; of religion, &verbar2; truth and peace,
And judgment from above:

8 & 9. Sha.
Why should I play &break; the Roman fool, &verbar2; and die
On mine own sword? &break; whiles I see lives, &break; the gashes

Do better upon them: D^o.
If such a one &break; be fit to govern, &verbar2; speak:
I am &break; as I have spoken. Mil.
Loud, &break; as from numbers without number; &verbar2; sweet,
As from blest voices, &break; uttering joy: &verbar2; heaven rung
With jubilee, &break; and loud hosanna's fill'd
Th' eternal regions:

Thus,—instead of three, to which the rimer confines himself now-a-days, —these great Poets chose to employ the Pause in their verse, in nine several places; and—besides variety, which is itself a great ornament, —produc'd out of it some of the most striking beauties with which their poems are decorated.

But the Dramatist was not yet contented: Neither the free use of the Trochee, nor this of the Pause, seem'd to him to give sufficient variety to verse design'd for the stage: by reflecting therefore upon the nature of our language in general, and of our verse in particular, and by aid of a most excellent ear, he invented, and threw into his verse, two varieties more: some traces of them he might find in the poets that went before him; but his large use of them, the improvements they receiv'd from his hand, and their reduction to rule, make them properly and truly inventions; and his verse stands distinguish'd by them, from the verse of all other poets whatever, to this day.

One of these varieties, is—the Redundant Syllable; and the Pause being dispatch'd, it may now be made clear to us. The end of lines had been ornamented with it, before Shakespeare; but whether doubly, and even trebly, as he has done, cannot be justly said upon memory, nor much matters it to enquire; 'tis familiar with the Italians, and might be gather'd from them: To the middle parts of verse, he first introduc'd it, and his manner shews judgment and design: The Pause, in a verse of five feet, is a kind of division: when full, or approaching something to fulness, the member so cut off has the air of a smaller verse,—of one, (perhaps) two, three, or four feet,—terminated by the pause; at any one of which pauses,—as if the member it seperates were indeed a verse, and that the end of it,—the Redundant Syllable is occasionally brought in by this Poet; being (as the name signifies) no part of the general heroic line, nor ent'ring into it's scansion, any more than the syllable or syllables so denominated which we often find at it's end. Here follow examples, of the final redundant syllable—single, double,

and treble; and of the middle redundant syllable—single, in two parts of the verse, as well the whole verse as that which is divided; all lying within a very small compass, in two passages only of “Cymbeline,” p^s. 63 & 64.

Examples of all these redundancies might be multiply'd almost in infinitum; there being very few pages of Shakespeare, in which some of them may not be met with, and a small search would furnish out all: These redundant syllables therefore, are as much a part of his regular prosody as either the Trochee or the Pause: but some others, that have been mention'd or hinted at,—to wit, those which are found now and then after the first foot of a verse, or after the fourth, or after small or no pause,—are more properly licenses; and to be us'd very sparingly, if at all, as the ear is not pleas'd with them: here are three, for the reader to judge of; the two first out of “Measure for Measure,” the other out of the last-quoted play:—

Deter &break; mined &break; upon &break; these slan &break; derers. (89, 2.)
3. If it &break; be so &break; to do &break; good ser &break; vice, nev&stress1;er
Let me &break; be coun &break; ted ser &break; vicea&stress1;ble. &break; How look &stress1; I,
That I &break; should seem &break; to lack &break; human &break; ity,
So much &break; as this &break; fact comes &break; to? (50, 32.)

Another of these redundancies, which is hardly of greater frequency than the two we have just spoke of, should be put in their class; this is,—the middle redundant syllable, double: “Cymbeline” offers one;—

“Macbeth” another;—

and more might be pick'd up; which to some will seem plainly what they are call'd, but others may think the verses they stand in—six-foot verses. For greater ease of the reader, and for his fuller conviction in these latter particulars and some others that are behind, there will be found at this Essay's conclusion a sortment of different examples, each under it's head; and under that of Redundancies will come a line that is singular, having three middle syllables extra scansion.

There is yet a further particular in the verse of this Poet, which has relation to these we are speaking of, and that is—an initial redundancy; for though his Plays are diversify'd throughout with portions of verse of all sizes,—one foot, one and half; two, two and half; and so on to the end,—yet a half-foot, or syllable, should rather be reckon'd what we have call'd it, and what it wears the appearance of in the present edition: “King Lear” has three of them; all very remarkable, and of great effect in their place;—

Unfrien &break; ded, &c. (10, 12.)
3. Corde &break; lia, &break; Corde &break; lia, stay &break; a lit&stress1;tle.
Ha! &stress1; What is't &break; thou say'st? &c. (16, 4.)

Of which three little monosyllables, the last only has had the luck to keep his station in moderns: the others are vanish'd quite out of them; as are also most of the sort throughout Shakespeare, and much the greater part of his middle redundancies: And his lines of six feet too, call'd Alexandrines,—another diversity in his measure; which he has with great judgment, and sometimes with no little happiness, chose to make use of,—have met a similar fate in the hands of these gentlemen: from whom the Poet has much the same treatment as had the guests of Procrustes; his lines being either cut short by the foot or the syllable, or else violently drawn out in length, (for this too is the case in some places with what was meant for hemistichs) to fit them to the measure of their sorry bed, which is one of five feet, and that precisely, without want or exceeding.

Neither has he suffer'd much less from them in this metrical article that is now to be treated of; second indeed in order, but first in importance, and asking larger discussion. The Heroic of modern languages is a derivative (ultimately) from the Greek Trimeter, parent of the Latin Senarius; and seems to have arisen at such time as that Senarius ceas'd to have it's true modulation, and the Latin it's true sound: accent govern'd in it's delivery, as it does at this day; and, doing so, numbers of those Senarii (and of the Trimetri too) have the cadence of the Heroic: Being thought quantity in the Latin, accent became a substitute for it in tongues to which the Latin gave birth, and, among the rest, in our own: it's effect in making syllables long is better and more natural than the other, which often clashes with accent in the verse of the afore-mention'd languages. Their long syllable is consider'd by prosodists as constituting a Time, and their short a Half-time; terms which musick afforded them, to which verse has relation; and the very same times exactly are heard in those two syllables of the feet we have spoke of, and call'd—Iambus, and Trochee: But here the power that chiefly contributes to form those two feet in our language, falls short of that which forms them in ancient ones: for if that position be true which the “Essay” set out with—that accent demands a rest in our language ere another can follow it, then is the effect of it limited to the forming of those feet only; here are the reasons.

Spondee we can have none in the language, that is—no true one; the syllables which that foot consists of having each a whole time, and such times meet not in it: Analogous to the Spondee (or iso-dunamous, rather) are the Dactyl, and Anapest; feet of three syllables, having one a whole time, the two others a half-time each, and making that way a whole: these feet (it is true) are found mixing with the Iambus in the verse which that foot gives name to among the ancients: but it follows not, that they must do so with us; and it will be seen presently, that we have no need they should; being furnish'd with feet unknown to the ancients, rising from out the language's nature, and of most exact correspondence with the feet which they did lend us, which the others are not. The overmuch abundance of monosyllables is observ'd by ourselves and by foreigners, and the language ill-spoke of on their account: the words of most frequent use amongst us,—our præpositions, pronouns, articles, and conjunctions,—are chiefly of that sort; and form'd too of the lightest component letters we have: those constant-occurring verbs, which we call—auxiliars, are monosyllables likewise, and light (for the more part) throughout all their inflexions; nor depart from that lightness when they take another syllable to them, as in—having, and—being; and we have other dissyllables many, of as light a composition as these: But in all the language, throughout, no syllables dwell a shorter time upon the ear, than the two concluding ones of some words of three syllables whose accent is on the anti-penultima, the frequent and almost general seat of it in words of that length: the multiplicity of these is so great, and their lightness so great withal, that ear of our Poet was struck with it; and a little reflection upon the nature of these words, and of the shorter ones mention'd before, led him to make a further distinction in the time of short syllables, from which his verse derives another variety, more us'd, and of more advantage to it, than his other great invention above—the Redundant Syllable, middle.

Monosyllables, however constructed, have no time in themselves, (as was said before in this “Essay”) but are determin'd this or that by the sense; which, in a verse consisting wholly of them or even chiefly, singles out the emphatical, or such as are so comparatively, and giving them that position which is necessary for the making-out it's five times, (whole times) distributed properly, leaves the rest without thesis, and in a state of admitting such times as suit the feet that compose it: These times, the Poet under considering makes of two sorts,—half-times

and quarter-times, and gains two sorts of feet by it: to the feet which we must call for distinction sake—the common Iambus and the common Trochee, belongs the common half-time; and of these, two syllables are the components: but where two preceed or follow the whole time, which is often the case in him, those two are but of quarter-times each; and the feet they stand in bear exactly the same relation to those of two syllables, which the Anapest and Dactyl do to the Spondee; and to these feet may be given with full propriety the names —Semi-breve Trochee, and Semi-breve Iambus: In Heroics, the quarter-times that belong to them are mostly lay'd on such syllables as are describ'd in the section preceding; or on others their like, as are the final unaccented syllables of all words of length: but this rule is departed from in the verse of another measure, that will be spoke of ere long.

Of these semi-breve feet, examples are so continual and various, that judgment knows not where to select them: all pages present them, both of Shakespeare and Milton; and the latter,—whose proper province it was, to accommodate sound to sense, and to draw poetical images of things that have motion,—is indebted to this kind of foot for the most remarkable painting in all his works: it is in his description of the fifth day's creation, in which the air and the waters were peopl'd with their several inhabitants; having mention'd the smaller-siz'd fishes, and some of the middle, he speaks then of the larger in these words;—

in which you have the quarter-time foot, of both sorts; and, with it, a striking instance of it's effect. Here follow some few out of Shakespeare: whose purpose in using them was different from that of Milton's, in this place; intending only to make his numbers more various, and to give his metrical dialogue all the freedom of prose:—

You shall &break; not go; &break; a la &break; dy's ver &break; ily is
As po &break; tent as &break; a lord's. &lblank; (“w. t.” 6, 26.)
2. Fear you &break; his tyr &break; annous pas&break;sion more, &break; alas,
Than the &break; queen's life? &break; a gra &break; cious in &break; nocent soul;
More free, &break; than he &break; is jeal &break; ous. &lblank; (D^o. 33, 10.)
3. &lblank; Care not &break; for is&stress1;sue;
The crown &break; will find &break; an heir: &break; Great Al &break; exan&stress1;der
Left his &break; to the wor &break; thiest; so &break; his suc &break; cessor
Was like &break; to be &break; the best. &break; Leo.
Thou good &break; Pauli&stress1;na,—
Who hast &break; the mem &break; ory of &break; Hermi &break; one,
I know, &break; in hon &break; our,—o, &break; that ev &break; er I
Had squar'd &break; me to &break; thy coun &break; sel! (D^o. 93, 9.)
4. Yet if &break; my lord &break; will mar &break; ry,—if &break; you will&stress1;, sir;
No rem &break; edy, but &break; you will; &break; give me &break; the of&stress1;fice,
To choose &break; you a queen: &break; she shall &break; not &c. (D^o. 94, 18.)
5. &lblank; Had &break; our prince
(Jewel &break; of chil &break; dren) seen &break; this hour, &break; he had pair'd
Well with &break; this lord; &break; there was &break; not a &break; full month
Between &break; their births. &break; Leo.
Pr'ythee, no &break; more; cease; &break; thou know'st,
He dies &break; to me &break; again, &break; when talk'd &break; of: (D^o. 96, 5.)
6. &lblank; your gal &break; lery
Have we &break; pass'd through, &break; not with &break; out much &break; content
In man &break; y sin &break; gular &break; ities; but &break; we saw &stress1; not
That which &c. &lblank; (D^o. 106, 23.)
7. Comes it &break; not some &break; thing near? Leo.
Her nat &break; ural pos&stress1;ture!—
* * * &lblank; But yet, &break; Pauli&stress1;na,
Hermi &break; one was &break; not so &break; much wrin &break; kl'd; noth&stress1;ing
So a &break; ged, as &break; this seems. &lblank; (D^o. 107, 8.)
8. I am sor &break; ry, sir, &break; I have thus &break; far stir'd &break; you: but
I could &break; afflict &break; you far &break; ther. &lblank; (D^o. 109, 6.) Pol.
9. She embra &break; ces him. &break; Cam.
She hangs &break; about &break; his neck;
If she &break; pertain &break; to life, &break; let her &break; speak too. (D^o. 110, 22.)

To prove the certain existence of this kind of foot, the instances given are very clear and sufficient: but the reader, who would have more satisfaction,

may pick up multitudes of them in any one play; though more in some than in others, and in none more than in his “Henry the eighth:” the singularity of whose numbers has been often remark'd upon, but the cause of it never pointed out; which is, chiefly, the great abundance of semi-breve feet, scatter'd in it throughout. They are introduc'd too in Song; to which they seem peculiarly fitted, at least to some sorts of it: here is one that is almost wholly made up of them, taken out of the play from which we had the other examples:—

and one a little before presents a line that has three of these feet in it;—

But here the writer must pause a little; and—to stop rising objections from such as have long receiv'd as a truth the existence of English Dactyls and Anapests, and even of the Spondee, similar to those in use with the ancients in that circumstance at least which their very essence consists in, videlicet, times,—it may be right to state anew some few articles, in which this offspring of the ancient Iambic (the modern Heroic) differs from it's progenitor. The Italians (whose language it first appear'd in, in all probability) have one that falls short of the verse they copy'd in the same proportion that ours does, namely—a sixth part or a foot: and the feet which they do admit, are the Iambus and Trochee only, constituted as with us; the latter a foot the model disclaims, and which is never receiv'd into't: And of this construction exactly is the old French Heroic, now their vers commun, which Chaucer resorted to; who, if not the form's importer in our language, is at least it's establisher, and our verse's acknowledg'd father: The times we hear in this form are identically the same in all the three languages, though

some principal grammarians among the second are pleas'd to say otherwise; for thus the Port-Royalists, for their own and their neighbour language, —“Les vers Italiens, aussi bien que les François, ne consistent que dans le nombre des syllabes, et dans la rime:” but take any one verse in either language, and disrange it's words so as to give the accents we hear in them a new place, and, though the syllables remain, the verse is gone; proof sufficient of times in them, (times depending on accent) and, if of times, then of feet: And, accordingly, all who speak of our verse acknowledge in it the latter two feet, and call their times as above: but, in going further, (as most have done) and attributing to it also the three former, the one essential diversity between the feet of the present day and those of old has not been weigh'd as it ought: for though quantity may and does make a Spondee, accent can not; and, if not a Spondee, then (in strictness and properly) not the other two feet, which are homogenial and like to it: nor they, nor traces of feet approaching them, are found in the verse we copy'd immediately; And why expect in our own feet unsuiting it's principles, as much as they do the verse of those other tongues, which caus'd rejection in them? the Tribrachys is another diversity that marks the ancient Iambic; incompatible as is the Spondee with modern verse, and (of course) a like stranger. Thus of five different feet which have place in the ancient verse, two are excluded beyond dispute from the verse it gave birth to, as well with us as our neighbours: and if admission into our own of another two, in the extent that's contended for, be productive of some evil; and their non-admission no loss, but such as is very amply made up to it in a way that is open to no exceptions; no good reason is seen, why the doctrine of the section preceding should miss of establishment: The evil consequent on admission of the doctrine that does obtain, is—a mixture of feet heterogenious; feet of unequal times, as are those of a time and half with others of a time and two halves: and the full benefit of the latter is offer'd us in what has perfect concordance with feet admitted on all hands, and into all the three languages, viz. the common Trochee, and the common Iambus.

The times that make the semi-breve feet different from the common, are (for the more part) lay'd on syllables suiting them, such as have been describ'd: but others are render'd capable likewise of forming such feet, by that quick passage over them which voice can make when it pleases, and does make now and then even in the Heroic: in comic measures, and in lyrical, where the subject is elegy, syllables of another

construction are chosen purposely, as will be shewn when we come to those measures; but first, order requires a finishing of what further remains to say concerning the said Heroic.

And the first matter that offers, is one which the writer fairly acknowledges he shall scarce be able to solve satisfactorily; to make accord with that system which he himself has advanc'd, and many others before him, that makes accent the foundation of versifying: those others (with greater wisdom perhaps, but not greater honesty) overpass it unnotic'd, and as they never were struck with it, which the multitude of lines that present it makes downright impossible; For, from one end of this Poet to the other, are scatter'd here and there in his pages dissyllable words whose ultima, though an accent, is shorten'd, or (more properly) made to stand in short place; the word's other syllable making on such occasion the half-time of a Trochee, whose whole falls on some monosyllable and of the lightest complexion often as are articles &c: but before we proceed to reasoning, it will be right to establish the fact by examples that cannot be controverted.

15. O gen &break; tlemen, &break; see, see! &break; dead Hen &break; ry's wounds
Open &break; their con &break; geal'd mouths, &break; and bleed &break; afresh! “R. 3.” 10, 30.
16. He af &break; ter hon &break; our hunts, &break; I af &break; ter love. “2. g. of V.” 5, 17.
17. &lblank; your eye &break; in Scot&stress1;land
Would cre &break; ate sol &break; diers, make &break; our wom &break; en fight, “M.” 66, 26.
18. &lblank; Not &break; a man &break; in En&stress1;gland
Can ad &break; vise me &break; like you: &break; be to &break; yourself, &c. “H. 8.” 8, 21.
19. Whom from &break; the flow &break; of gall &break; I name &break; not, but
From sin &break; cere mo &break; tions; by &break; intel &break; ligence &c. D^o. 9, 10.
20. The ar &break; ticles o' &break; the com &break; bina &break; tion drew
As him &break; self pleas'd; &break; and they &break; were rat &break; ify'd &c. D^o. D^o, 29.
21. Sir Thom &break; as Lov &break; el, I &break; as free &break; forgive &stress1; you
As I &break; would be &break; forgiven: &break; I for &break; give all; D^o. 31, 9.

And what now is to be said of such feet? Must we call them—a licence; a wantonness of the poet's, which he indulges to give his numbers diversity? Or shall we not rather look about for some cause of them in the nature of voice itself? and some analogous usages of it's direction in other cases? Accent we see displac'd by it frequently, in the verse of every poet before Shakespeare and since; and a large list of words, whose accents he himself has made free with, follow in place assign'd: In monosyllables it's power is unlimited; extending them now, and now short'ning, and that in every degree of which extension and short'ning are capable in this business of times; the same word upon which is just thrown a half-time, or even a quarter-time, shall at very small distance from it have the fullest that emphasis can create: But what is nearest the point in question, is—the power that voice exercises upon words of two syllables, and upon the final of such trissylables as are constituents of the semi-breve foot of either sort: the dissyllable loses the time belonging to't in virtue of it's Accent, and, from being a whole time in other situations, becomes a quarter-time here; and the same happens to the Ictus which nature throws on the final, and makes it thereby a long time; one line from the “Tempest” will exemplify both;—

other syllables too that have the Ictus upon them are made half-times occasionally; as is also the middle syllable of some words compounded,

whose second is a dissyllable and therefore accented: here is what will confirm it;—

From these instances of a dispensing as well with Accent as Ictus in the cases preceding, it should follow by parity of reason,—that, where considerations of greater import than times (such as improving and strength'ning diction) bring about a concurrence of accented syllables, or of a syllable accented with one strongly emphatical, in this contention of powers one is swallow'd up, and that naturally; the accented by the emphatical, as in the 16^th. example; and the dissyllable's final by the accent immediately following, which has mostly advantage of it: thus reduc'd, the dissyllable becomes a word without thesis; and as nature admits of only two syllables (so circumstanc'd) following in conjunction, a thesis must fall upon that before them however weak it's construction, and no weaker are in the language than are nearly all those in the other examples:—But here the reader should be appris'd of a doctrine we forbore to state in it's place, relating to all such Trochees as either follow the Iambus immediately, or follow one another, without a mark'd pause between, mark'd by punctuation: namely—that, in every such case, pause is made by the voice; and having in it a power that answers a half-time, that power is intervention sufficient to obviate an objection to what has gone before about times, arising from those examples where the Trochee follows the Iambus:—and such pause, or a fainter, has good effect in the other case,—a concurrence of Trochees; in which (without it) is languor, and a want of distinction: Two instances shall serve, for the present, in proof of either assertion; of the latter, this from the Poet's “Troilus,”—

and of the former, this beautiful one from his “l. l. l.”—

Such another pause as the last, (to wit, that between Trochee and Trochee)

is requir'd too at every verse's end, however closely connected with the sense of the verse after; a point which some very great speakers have been known to fail in, something to the impeachment of their delivery.

This uncommon, and (as many will say of it) this unpleasing assemblage of a Trochee and an Iambus so constituted as we have seen in the last section, should have been an invention; the verse of poets preceding not affording examples of it, so far as is known: exclusive of what is urg'd in behalf of it, the necessities—first, of giving all possible variety to numbers us'd in the drama; and next, of expressing passions and characters by such as answer that end, as many do of this cast,— will reach farther than to excuse of it with the truly-judicious reader, who shall give it consideration.

Nor will such a one much approve a reduction (practis'd often by editors, and often injuriously) of a measure the Poet uses that is not his invention; but a known branch of the Heroic, now the only remaining one that asks the writer's considering: This measure is—the verse of six feet: a verse solely intitl'd to the appellation (Heroic) in the esteem of the present French, and of some in Shakespeare's day also; and certainly not improper, in any view, for that occasional use of it which we find him making in all his plays, as well the late as the early ones: To this French line he sometimes gives the middle French cæsure, (improperly call'd so) witness—

which being utterly void, even by itself, of the ease that should be in dialogue, we find substituted for it in his line the true Latin cæsura; that is, the word that forms it's third foot runs on, and has a syllable in it that makes the first of the foot after; the over-formal French cæsure standing for the more part condemn'd by him to either dogrel, or sonnet, or the mock heroics of Pistol and Thisbe: Here are some from the lady;—

and here another from Pistol,—

The heavens &break; thee guard &break; and keep, &break; most roy &break; al imp &break; of fame! “m. n. d.” 32, 10. & “2. H. 4.” 108, 20.

and a sonnet all in this measure, beginning,—

is found in “l. l. l.” at 42, 26: of dogrel, there will be call to speak presently; and then will this measure shew itself, as a member of one that goes by the other name. A re-instating of this formal division having taken place in all verse of this length that is us'd by poets since Shakespeare, 'tis probable that what he esteem'd properer may not be relish'd at present; and that harshness will be objected to it, for which there is some foundation: the subjoin'd specimens will shew too that he thought it equally capable of some of those differences which we have seen in his five-foot verse, to the great advantage of that:—

11. &lblank; Tim. Commend &break; me to &stress1; them;
And tell &break; them, that, &break; to ease &break; them of &break; their griefs,*
Their fears &break; of hos &break; tile strokes, &break; their a &break; ches, los&stress1;ses,*
Their pangs &break; of love, &break; with oth &break; er in &break; cident throes*
That na &break; ture's frag &break; il ves &break; sel doth &break; sustain*
In life's &break; uncer &break; tain voy&stress1;age, &break; I will &break; some pleas &break; ure do &stress1; them,
I'll teach &break; them to &break; prevent &break; wild Al &break; cibi &break; ades' wrath. “T. of A.” 80, 31.

Into some or other of these six-foot verses, enter (besides the Trochee, as common) the final and the middle redundancy, and the semi-breve Iambus; the pause too is vary'd, as in the ordinary measure: in the first seven quotations, is exemplify'd the Latin cæsura; and what the French call such, in the last line of the eleventh. Examples of this measure, and of the foot that was last observ'd upon, are multiply'd out of “Henry the eighth,” to lead readers into remarking—that the strangeness of that play's measures does not lye in the introduction of the semi-breve foot only, to which they saw it attributed not long before.

There is found in “A & C.” (100, 17.) an Heroic of seven feet, except we admit in “monument” (one of it's words) a middle redundancy of two syllables; and these are all the diversities of the verse so denominated.

Something has pass'd already, where the Trochee was treated of, about the Lyrical Measures which Shakespeare brings into his dialogue; and, for such of them in which the matter is serious, that something may serve: with this only addition,—that, into three speeches (which we must also call serious) of the measure there spoken of, a novelty is introduc'd which the Poet might catch from Holinshed, in this popular distich to which he has given place in his own “Henry the fifth” at 13, 10;—

where by meer power of voice, by dwelling a while upon it, “France” becomes a foot by itself: and the same happens to “first,” and to “moon's,” words of two other passages, where the feet are of good effect in their way; an image of the beings they come from, lying mostly in them: These passages follow in the Collections, the page that holds them being titl'd a-top—Monosyllable Feet: and after them, come a

number of others; taken either from song, or from the mouth of light characters, whose humour they heighten not inconsiderably.

In Song, the Poet ranges as others do; and lines of one foot, one & half, and so on, enter their composition in different parts of him: nay, his dialogue wears the dress of them sometimes; as witness a speech of Puck's, that closes act the third of his “m. n. d.” The most singular of his songs, (if, in truth, it be song) is one with which the Clown makes his exit at p. 72. in “t. n.;” which, upon the score of that oddity, shall follow the examples last spoke of, broken and mark'd as they are to point out the measure. Out of some of these songs,—and one, chiefly, in “m. a. a. n.” p. 86; and a second in the play lately-mention'd, at p. 33,—will rise the greatest objections to what has gone before about the Dactyl, and it's iso-dunamous brethren, the Spondee and Anapest: both are call'd—dactylic, by writers who have spoke of these songs; and the inattentive will be apt to think he hears in the second that impossible Spondee, intermingl'd with what are certainly the common Iambus and the common Trochee: But the deception in either song is from matter; which being of the elegy cast, all the numbers move slowly, and some are form'd purposely out of syllables that can scarcely move otherwise, of which the first song is instance, whose feet (whatever they are) are pure without mixture: The other merits transcription on account of it's variousness as well of measure as feet; and the proper names of these latter, in the writer's opinion, will appear in his marking:—

1.
  Come away, &break; come away, &break; death,
and in sad &break; cypress &break; let me be &break; lay'd;
    fly away, &break; fly away, &break; breath;
I am &break; slain by a &break; fair cruel &break; maid:
my shrowd &break; of white, &break; stuck all &break; with yew,
      o &stress1; prepare &stress1; it;
my part &break; of death &break; no one &break; so true
        did share &stress1; it.

2.
  Not a flower, &break; not a flower &break; sweet,
on my black &break; coffin &break; let there be &break; strown;
  not a friend, &break; not a friend, &break; greet
  my poor &break; corps, where my &break; bones shall be &break; thrown:

a thou &break; sand thou &break; sand sighs &break; to save,
    lay me, o, &break; where
sad true- &break; love nev &break; er find &break; my grave,
    to weep &break; there.

Another of these dactylics comes from Touchstone in “As you like it.” (p. 58.) where he is playing upon sir Oliver: but, in truth, the numbers are in all respects similar to those of the song preceding; and (like that, in it's sixth line) it has one initial redundancy, the (I) of the line it ends with. The song call'd—anapestic, is that admirable one in the “Tempest” that graces Stephano's entrance at p. 38: but as an Iambus (common Iambus) begins every line of it, (the last excepted) terminates two of them, (the third and fourth) and has the forming of the whole second line,—it is not seen, why we should go out of those times and call the other feet anapests, when, by admitting a foot which reason assents to, we may have absolute consonance throughout it's whole composition: Set it down then as an Iambic, and that a pure one; having syllables in it (a few) in quarter-time places, such as that measure admits of whose examen will close the “Essay” before us, videlicet—Dogrel, a first-cousin at least to such songs as is Stephano's.

A most faint image of the measure bearing that name is found in two or three ancient Moralities, and one of Skelton's particularly that is titl'd—“Magnificence,” (which see in the “School”) that might set the inventive brain of our Poet upon expanding, or (rather) new-molding it, after the manner we see it lye at this present; principally, in three early comedies,—the “Taming of the Shrew,” “Love's Labour's lost,” and the “Comedy of Errors,” and a little in the “Two Gentlemen of Verona:” Characters which we may almóst call—buffoon ones, and the link'd in discourse with them, are the parties the measure comes from: it has drollery in itself, and receives a further surcharge of it from it's never-failing accompaniment, videlicet—rime; but being wholly unfit for dialogue, and withal of difficult management in the delivery, (as that actor would find, who should make the experiment) it had in very short time a dismission from it's inventor, together with it's accompaniment. The regular of this kind are—Iambic tetrameters, of the semi-breve species; and pure, as is the following distich,—

with exception of one foot only, the third of it's first line; whose “being” is made a whole time per crasin, and the foot a common Iambus: But such regulars tyring in repetition, and lying open to even greater objections than that of the Heroic, when regular; all the licences of the latter,—it's redundancies; mixture of various feet, various measure, &c.—have a place in this verse, and that in larger proportion: Upon surveying the whole of it, in all the plays above-mention'd, there appear'd to this writer no other way of facilitating a reader's conception of it, but by laying before him (generally) all it's irregulars; which shall be done in the following pages; setting before him a second time an example of the verse we call regular, in this lively and short dialogue of four lines only out of “Love's Labour's lost,” whose first and last are compleatly so:—

To these succeed examples of lines containing Redundancies, double as well as single, and of all the three sorts, to wit—initial, middle, and final:—

these were not to be had pure; for they have in them specimens of the verse next in order,—the Mix'd Verse, or verse that has the other three feet as well as the one that's proper:—

the last example is singular; “a,” in the writer's judgment, being a slur'd syllable, (slur'd in pronunciation) and not a redundant one, the foot consisting of those that follow.

Lastly, come the measure's diversities; it's two-foot, three-foot, five, six, and seven-foot lines, as many as the aforesaid plays offer, in scenes that deal in this measure: but in these too is mixture of what belongs to preceding classes, seperation being impossible:—

Will you send &break; him, mis &break; tress, redemp&stress1;tion, &break; the mon &break; ey in &break; his desk? (D^o, 29.)
11. It was two &break; ere I left &stress1; him, &break; and now &break; the clock &break; strikes one. (41, 11.) D. S.
12. O yes, &stress1;&stress1; If an &break; y hour meet &break; a ser&stress1;jeant, &break; he turns back &break; for ver &break; y fear. Adr.
As if &break; time were &break; in debt! &break; how fond &break; ly dost &break; thou rea&stress1;son? D. S.
Time is &break; a ver &break; y bank&stress1;rout, &break; and owes more &break; than he's worth &break; to sea&stress1;son.
Nay, he's &break; a thief &stress1; too; &break; Have you &break; not heard &break; men say,
That time &break; comes stea &break; ling on, &break; by night &break; and by day?
If time &break; be in debt, &break; and theft, &break; and a ser &break; jeant in &break; the way,
Hath he &break; not rea &break; son to &break; turn back &break; an how &break; er in &break; a day? (D^o, 14.)
13. We came in &break; to the world &break; like broth &break; er and broth&stress1;er;*
And now &break; let's go hand &break; in hand, &break; not one &break; before &break; anoth&stress1;er. (64, ult.)

Boy.
11. My la &break; dy goes &break; to give horns; &break; but, if &break; thou mar&stress1;ry,
Hang me &break; by the neck &break; if horns &break; that year &break; miscar&stress1;ry. (D^o. 29.) Mar.
12. You still &break; wrangle with &break; her, Boyet, &break; & she strikes &break; at the brow. Boy.
But &break; she herself &break; is hit low&stress1;er: &break; Have I &break; hit her now?* (38, 4.) Mar.
13. A mark &break; marvelous &break; well shot; &break; for they both &break; did bit &stress1; it. (D^o, 19.)
14. O my troth, &break; most sweet jests! &break; most in &break; cony vul &break; gar wit!
When it comes &break; so smooth &break; ly off, &break; so obscene&stress1;ly &break; as it were, &break; so fit.
To &stress1; see him walk &stress1; be &break; fore a la&stress1;dy, &break; and to bear &break; her fan!* 39, 2.)
15. And such &break; barren plants &stress1; are &break; set before &stress1; us, &break; that we thank &break; ful should be
For those parts &break; which we taste, &break; and feel, &break; do fruc&stress1;ti &break; fy in us &break; more than be.
For as &break; it would ill &break; become me, &break; to be vain, &break; indiscreet, &break; or a fool;
So were &break; there a patch &break; set on lear&stress1;ning, &break; to see him &break; in a school:
But om &break; ne be &break; ne, say I; &break; being of &break; an old &break; father's mind,—
Many &break; can brook &break; the weath&stress1;er, &break; that love &break; not the wind. (40, 8.)
16. What was &break; a month &break; old at &break; Cain's birth, &break; that's not five &stress1; weeks &break; old as yet? (D^o, 19.) Bir.
17. What, &stress1; are there but &break; three? Cos.
No, &stress1; sir; &break; but it &break; is va &break; ra fine,
For ev &break; ery one &break; pursents three.&break; Bir.
And three &break; times thrice &break; is nine. Cos.
Not so, &stress1; sir; &break; under &break; correc &break; tion sir; &break; I hope, &break; it is &break; not so:
You can &break; not beg us, &break; sir, I &break; assure &break; you, sir; &break; we know &break; what we know:
I hope, &stress1; sir, &break; three times thrice, &stress1; sir,— (78, 17.) Bir.
18. For the ass &break; to the Jude; &break; give it him:— &break; Jud-as, &break; away. (83, 14.)

When I &break; am alone, &break; why then I ³ am &break; Tranio;*
But in all &break; places else &stress1; your &break; master Lu &break; centio.* (21, 7.) Sly.
2. Yes, by &break; saint Anne, &break; do I. &break; A good mat &break; ter, sure&stress1;ly;
Comes there &break; any more &break; of it? &break; Pag.
My lord, &break; 'tis but &break; begun. Sly.
'Tis a &break; very ex &break; cellent &break; piece of work, &break; madam la&stress1;dy;
Would it &break; were done! (D^o, 22) Gru.
3. My ma&stress1;ster &break; is grown quar&stress1;&stress1;relsome:— &break; I should &break; knock you first,* (22, 12.) Hor.
4. Alla &break; nostra ca&stress1;sa &break; bene &break; venuto,*
Molto &break; honora&stress1;to &break; signior mio &stress1; Pe &break; truchio.* (D^o, 27.) Tra.
5. Gentlemen, &break; God save &stress1; you! &break; If I &break; may be bold,*
Tell me, &break; I beseech &stress1; you, &break; which is &break; the read &break; iest way
To the house &break; of si&stress1;gnior &break; Baptis&stress1;ta &break; Minola?* Gre.
He that has &break; the two &break; fair daugh&stress1;ters? &break; is't he &break; you mean? (29, 2.) Pet.
6. Not her &break; that chides, &stress1; sir, &break; at an&stress1;y &break; hand, I pray.* Tra.
I love &break; no chi&stress1;&stress1;ders, sir:— &break; Biondel&stress1;lo, &break; let's away.* Luc.
“Well be &break; gun, Tra&stress1;nio.”&break; Hor.
Sir, a word, &break; ere you go;—*
Are you &break; a sui &break; tor to &break; the maid &break; you talk &break; of, yea, &break; or no? Tra.
An if &break; I be, &stress1; sir, &break; is it an &break; y offence?* Gre.
No, if, &break; without &break; more words, &break; you will get &break; you hence. Tra.
Why, sir, &break; I pray &stress1; you, &break; are not &break; the streets &break; as free
For me, &break; as for you? &break; (D^o, 9.) Pet.
7. O, &stress1; pardon &break; me, si &break; gnior Gre&stress1;mio; &break; I would fain &break; be do&stress1;ing. Gre.
I doubt &break; it not, sir; &break; but you &break; will curse &break; your woo&stress1;ing. (33, 29.) Bio.
8. Nay, by &break; saint Ja&stress1;my, &break; I hold &break; you a pen&stress1;ny,*
A horse &break; and a man &break; is more &break; than one, &break; and yet &break; not man&stress1;y. (51, 9.)

Spe.
2. From a pound &break; to a pin? &break; fold it o &break; ver and o&stress1;ver,*
'Tis three &break; fold too lit&stress1;tle &break; for car&stress1;&stress1;rying &break; a let &break; ter to &break; your lov&stress1;er. (6, 30.) Spe.
3. O jest &break; unseen, &break; inscru &break; table, &break; invis&stress1;ible,
As a nose &stress1; on &break; a man's face, &break; or a weath&stress1;&stress1;ercock &break; on a stee&stress1;ple!*
My ma &break; ster sues &break; to her; &break; and she &break; hath taught &break; her su&stress1;itor,
He being &break; her pu &break; pil, to &break; become &break; her tu&stress1;tor.
O ex &break; cellent &break; devise! &break; was there ev&stress1;er &break; heard a bet&stress1;ter?
That my ma&stress1;ster, &break; being scribe, &break; to himself &stress1; should &break; write the let&stress1;ter?* (20, 10.) Spe.
4. And that let&stress1;&stress1;ter hath &break; she deliv&stress1;er'd, &break; and there &break; an end.* Val.
I would &break; it were &break; no worse. &break; Spe.
I'll war &break; rant you, 'tis &break; as well. (21, 2.)

To this last specimen of the irregular Dogrel in this play, succeed immediately a couple of distichs which are declar'd to be quotation: (see the words they are follow'd by) they are made to come from that speaker, not as Dogrel, but in banter of a ridiculous measure which prevail'd at that time, classicks being translated, and even plays writ in it, of which the “School” has some samples: Costard's “Pompey,” and Holofernes's “Sonnet,” had the same design probably; and in Pistol the thing is evident; his—

and some other magnificencies of like sort, admitting no other comment: One specimen of the measure is given by Shakespeare seriously; 'tis the epitaph of Timon at that play's end, and was had from Plutarch's translator whose verse it is mostly. It enters naturally into Dogrel, as does the six-foot; even where the feet are all common, as in some of the lines extracted: and the measure under these two, (the five-foot verse) is lug'd into't likewise, for the greater variety, and sometimes without mixture; but, for the more part, feet of the verse with which it associates are found also in this, oddly dispos'd in it, together with some redundancies: In these lines, and in lines exceeding their length, the proper method of scansion may not always present itself even to the initiated; and their being mix'd with a measure which he has made himself master of,—the regular Dogrel,—may incline him to attempt a bending of some of them to that measure's standard, which

would injure them many ways: for prevention of this, and for the saving of all study in a matter which may not greatly merit it, were these lines singl'd out, and lay'd properly before him; having in their company a small number of other lines (pointed-out by a star) which may serve as lessons for discovery of the unmark'd tetrameter Dogrel, in addition to what were given before under that head. As to this measure's Pauses,—tetrameters have an equal division always: in it's verse of five feet the pause fluctuates, coming now after the second foot, and now after the third; and in the other hypermeters, the same division obtains that is found in such verses when they have place in the Heroic:— which measure being the principal, and best deserving attention from such as would judge of the Poet's art, and give his verses their proper delivery, a summary of what has been said on it may be useful to make impression, and, upon that account, acceptable.

Feet,—determinable by Accent; or else by the voice's Thesis, which is accent's equivalent,—are this verse's constituents; the thesis, and the accented syllable, drawing to it always (in that) one other syllable at least, and so forming a foot; which comprizes in it a Time, and a Half-time, the attracted being the half; and according as these are plac'd so is the foot denominated, Iambus if the half-time preceeds, if the whole a Trochee, call'd in this “Essay”—common, as is the other: Where these only have place, as in the verse of our chief neighbours, the Heroic falls short inconceivably of the richness of ancient numbers resulting from their diversity; and is besides ill-adapted (peculiarly) to the use of dramatic poetry, whose numbers should be the freest imaginable: Those of the Poet under considering are made so by some inventions, suiting the tongue he writ in: Spondee he could have none; and, in consequence of that, not the other two feet, after the usage of classicks, who find in them a time and two half-times: Syllables of light construction themselves, and made lighter occasionally by a power which voice exercises, presented to his conception a time short of the half; and, in that, a mode of getting at feet which should answer the end requir'd, and be the ancient ones substitutes: Two such syllables, following or preceding another which has upon it a whole time, make (along with that other) feet differenc'd from the common in this circumstance only— that their half-time resides in those two syllables instead of the other's one; and to such are given aptly enough in this “Essay,” the names— semi-breve Iambus, and semi-breve Trochee, arising from that division. Five feet, ordinarily, is the complement of his Heroic; without restriction

in any way, bating—that their fifth is of necessity an Iambus, and that one Iambus at least (of the common sort) intervenes in it's other parts: nor is the Pause under any, in his practice and Milton's; each foot, and each syllable of the foot, (if a common Iambus) admitting it equally, and the second of that which is semi-breve. Whatever syllables else—that is, not making part of some of the feet aforesaid,— occur in any one verse, (and there are which have many of them, and that in different parts) such are the Redundancies spoken of as a further invention; raising this Poet's verse to a further perfection still in the line to which it belongs, which asks ease and variety, join'd to powers of expression, all which are promoted by this discovery. A very early perception of it, and of his other invention—the feet lately spoke of, was of the highest service possible for the avoiding of frequent blemishes that disgrace his text in the moderns: And that a system the consequence of this perception, and lay'd down in these pages, is a true system, can have no better vouchers, than (first) the simplicity that is immediately seen in it; and (next) the fulness that will shew itself upon trial for solution of every difficulty that has been found in our verse at large, and in that of Shakespeare particularly, in which they are more numerous, and are made by writers inexplicable: If what is found in such writers about the Dactyl and Anapest shall have procur'd those two words an establishment with the public, it may proceed without harm; provided we shall divest them of their classic idea, in relation to times contain'd in them: but those of the terms contended for, (semi-breve Iambus, and semi-breve Trochee) are both readier convey'd by such terms; and the times which they do convey, are in perfect consonance with those of feet acknowledg'd on all hands, and suiting our verse's genius.

The extreamly-near approach of this verse (as of Shakespeare's forming) to that of the Latin and Greek stages after our mode of sounding it, having been hinted at only without proposing examples at that time, the following are selected; in which quantity is set aside, and a scansion given them into which they fall naturally when consider'd as under accent's dominion: And, first, a saying of the execrable Tiberius;—

next, these of the moral Seneca;—

Pars san &break; ita&stress1;tis &break; velle &break; sana &break; ri fu&stress1;it.
Sequitur &break; super&stress1;bos &break; ultor &break; á ter &break; go De&stress1;us.
Prohibe &break; re ra &break; tio nul&stress1;la &break; peritu &break; rum po&stress1;test.

and, lastly, this Iambic of Horace's,—

(retrenching-solum) has so entirely the flow of our pure Iambic, that—

What is brought to exemplify Crasis, is brought truly and properly: for “to” in one passage, and “the” in the others, have their full sound; and each word severally, with the syllable next it, is compress'd into one syllable by the figure aforesaid. Not so with the other figure— Diæresis: What are made examples of that, are (in strictness) examples of the pronunciation which those words should have; and their ordinary and almost constant contraction is a true Crasis, robbing each of a syllable: but so constant is this diminishing, that their occasional restoration by versifiers to the power that belongs to them, is consider'd as the effect of that figure which is the opposite of Crasis. Shakespeare deals in it largely: his “H. 4.” (both parts) and his “m. of V,” are strongly mark'd with it; and as well in them as elsewhere, it is made the principal causer of divers fine adaptations either to the passion that is delivering or the character of the deliverer: of this, the man of taste will see one proof in queen Margaret's “indignatïon” above; and may read a second with pleasure in this answer of Viola's to Olivia's “How does he love me?”—

Under these figures, properly, will come the greater part much of a list that shall now be given of words extended or shorten'd in some parts of this Poet beyond their usage in other parts and their usage in general: In this list, reference is made to only one passage (a sufficient one, mostly) in which the word is so us'd; the rest will discover themselves to the ear of any attender, and judge of verse, as the passage shall offer: but it should be observ'd to him,—that, in some cases refer'd to, among words contracted, verse may be made out in some other way; and contraction is but adopted, by the maker-out of that list, as the way that is most expedient.

Door “T. A.” 13, 20. Fare “k. J.” 87, 21. Fire “t. of y^e. s.” 35, 30. Hair “m. of V.” 56, 8. Heir “2. H. 6.” 33, 31. hire “c. of e.” 38, 19. Hour “J. C.” 37, 31. howbeit “C.” 30, 4. Jaques “a. y. l. i.” 23, 19. Mayor “ 1. H. 6.” 17, 18. ours “w. t.” 28, 20. Prayers “2. H. 6.” 87, 18. sour “c. of e.” 52, 8. Year “t.” 7, 31. yours: “m. of V.” 46, 31.

resembleth “2. g. of V.” 15, 27. Commandement “m. of V.” 79, 6. unmingled; “T & C.” 17, 29. also, Rememberance. “t. n.” 4, 19.

sepulcher “R. 2.” 19, 7. Sequester “O.” 72, 30. to sequester “T. A.” 28, 29. Sojourn to sojourn solemnized “l. l. l.” 20, 2. subsequent “T & C.” 27, 30. successive “m. f. m.” 30, 30. supream “1. H. 6.” 16, 20. therefore “T & C.” 62, 7. Triumph “ R. 3.” 67, 28. Triumphers “T. of A.” 80, 29. to triumph “1. H. 4.” 94, 23. unauthorized “O.” 78, 30. uncouth “T. A.” 33, 14. unkind “R & J.” 101, 30. Uprightness “T. A.” 5, 2. wherefore: “k. L.” 48, 19.

Neither the Words in these Lists, nor the Examples the “Essay” throughout, should be look'd for by any examiner, except in some old edition, or in that which the “Notes” belong to: a great part of the

Examples differing in almost every other; and the truth of lines the Words should be found in, is not seldom superseded by alteration. The Lists are made as full and compleat as the memory of the compiler would serve, for this very good purpose; A great proof of such usage, in each case severally, lyes in it's analogous usage in so many other cases: for that purpose too, were the Examples that go before them encreas'd; and from both may result the benefit following,—that Shakespeare will (at last) be permitted the use of his own language, and of the numbers which he thought aptest.

Romeo and Juliet.] 5, 14. Others. 17, 26. disposition 23, 15. 2. S. 26, (below) ¹⁴ sinne is 27, 10. be gone; 32, 5. night, 33, 25. overhear'dst, ere I 38, 22. physick 51, 27. would 63, 8. more, 67, 6. in a skill&wblank; 82, 23. be gone.—83, 20. enough. 84, 15. sit up 85, 23. mandrakes' 92, 22. Lifts me 97, 28. further 100, 29. End

See too, NOTES upon—13, 8; 29, 12; & 55, 8.

Enter Chorus.] This chorus is not in the F^s; and the other, at p. 28, not in 4^o. A. In that 4^o. the first Chorus is stil'd simply—The Prologue: which words are also in 4^s. a. b. c. d; and, underneath them, the word—Chorus. 14. heare 4^o. a. 4, 4. on my 4^s. p.— 4, 6. mean, if we F^s. r. 4, 7. out of the collar 4^o. d. t. w. of choller. 4^s. a. b. out the Coller. 4^o. c. 4, 12. to it not in 4^o. a.— 4, 15. a not in the 2^d. F. r. 4, 17. Tis true 4^s. 4, 24. be civil with 4^s. a. b. F^s. r. 4, 25. Maids, and cut F^s. r.— 4, 27. or the Maidenheades 4^o. A. w. 4, 29. in not in 4^s. a. b. 5, 2. of Mountagues 4^s. 5, 13. a not in 4^o. a. 5, 24. But if 4^s. 5, 31. sir not in the F^s. r. 6, 2. washing 4^s. a. b. F^s. r. 6, 11. draw, F^s. r. p. 6, 13. the 2^d. F. 6, 21. A crowch, a crowch 4^s. a. b. c. 6, 26. stir a foote F^s. r.— 7, 1. these 2^d. F. r. p. 7, 5. Broyles, F^s. r.— 7, 8. make 2^d. F. Neronas 4^o. a. 7, 9. Ornament, 2^d. F. 7, 11. party our 4^o. c. 7, 13. the ransome of your fault 4^o. A. 7, 17. Fathers 4^o. b. F^s. further 4^o. d. r.— 7, 31. thrust 4^o. c. 8, 3. am I 4^o. b.— 8, 5. Peept through the 4^o. A. p. o. 8, 6. drive 4^o. a. 8, 7. Syramour 4^s. a. b. c. 8, 13. That most are busied when th' are most alone, 4^o. A. p.— 8, 15. honour, 4^o. b. F^s. pursuing him; T.— 8, 27. portendous 4^s. 1^st. F. 8, 32. others 1^st. F.

9, 1. he is owne 4^s. a. 9, 7. the Sun. T.— 9, 40. his ill O.— 10, 3. create 2^d. F. r.— 10, 5. welseeing 4^s. a. b. 1^st. F. 10, 14. my owne 4^s. c. d. 10, 18. raisde with 4^o. A. p.— 10, 20. a sea raging with lovers teares 4^o. A. 10, 28. whome she is 4^o. A. 10, 32. Bid not in 4^s. a. b. F^s. r. in good sadnesse 2^d. F. r. makes 4^s. a. b. F^s. r. 11, 1. A word 4^s. 1^st. F. Ah word 4^o. A. 11, 3. so right, 4^o. A. 11, 6. But in D^o. 11, 9. uncharmd 4^s. a. b. c. d. F^s. r. 11, 11. bid F^s. &break; 12. open 1^st. F. 11, 16. make 4^s. a. b. 1^st. F. 11, 19. too wisely O. 11, 30. puts 4^s. a. b. c. F^s. 11, 31. strucken 4^o. d.— 12, 9. And not in 4^o. b. F^s. r. But Mountague 4^s. a. 12, 22. The not in 4^s. a. b. F^s. r. Earth up hath 2^d. F. r. 12, 23. Shee's 4^s. a. b. 1^st. F. 12, 26. agreed 4^o. a. 13, 5. fennell buds 4^s. a. b. c. d. 1^st. F. 13, 8. Which one more 4^s. a. b. F^s. r. 13, 9. My 2^d. F. &break; 24. On 4^o. a. 13, 20. here not in the F^s. r. 13, 27. the eye 4^o. b.— 14, 11. daughters 4^s. p.— 14, 29. crash O. 14, 32. loves: 4^s. a. b. c. 1^st. F. 15, 3. shew 4^s. b. c. d. 15, 4. the 4^o. b. 15, 11. Ben. Tut you 4^s. 1^st. F. 15, 15. shew 4^s. r.— 15, 16. she shew scant shell, well 1^st. F. shele shew 2^d. F. r. seemes best. 4^o. a. 15, 23. yeeres 4^o. d.— 15, 24. I had 4^s. c. d. 16, 6. my teene be 4^s. 1^st. F. t.— 16, 15. then shall 4^s. c. d. 17, 4. Julet 2^d. F. &break; 18 & 25 D^o, D^o 17, 7. shall live 4^s. b. c. d. F^s. 17, 8. Julet F^s. 17, 10. the 2^d. F. 17, 19. D^o, D^o. 17, 13. had on 4^o. d. 17, 14. bompe 4^s. b. c. 17, 21. was the 2^d. F. 17, 26. dispositions 4^s. 17, 27. an honor 4^o. A. p.— 17, 28. D^o, D^o. thine not in 4^s. c. d. 17, 31. Varona 2^d. F. 18, 3. the noble Countie Paris seekes thee for his Wife. 4^o. A. 18, 12. every married lini&wblank; 4^o. a. 18, 20. many eyes 4^o. d. t. w. 18, 28. it not in 4^s. a. b. 1^st. F. 19, 25. soale of 1^st. F. sole of 2^d. F. r. 19, 29. impearced D^o. 19, 30. and to bound: 1^st. F. r. and to bond: 2^d. F. 20, 1. Horatio. And to 4^s. a. b. F^s,

20, 9. cote 4^o. a. 20, 12. betakes 4^o. b. 20, 17. dum 4^o. a. &break; done F^s. r.— 20, 20. you rev.—4^s. 20, 22. Nay not in 4^s. c. d. 20, 23. sir I delay F^s. 24. vaine, lights lights by day 4^s. a. b. c. d. F^s. r. 21, 2. a sleepe 4^s. b. c. F^s. 21, 5. an not in the F^s. 21, 7. Atomi, &break; Athwart men's 4^o. A. ottamie, 4^o. a. 21, 11. Trace 2^d. F. r. 21, 12. collors 4^o. a. coulers 1^st. F. collers 4^s. b. c. d. 21, 13. of Philome, 4^s. a. b. c. d. 1^st. F. 21, 16. a man. D^o. a woman. 2^d. F. r. 21, 22. On Courtiers 4^s. a. b. c. d. 1^st. F. p. t. w. On Countries 2^d. F. r. 21, 23. dreamt 1^st. F. 21, 26. breath 4^s. a. b. c. d. F^s. 21, 27. Sometimes 4^o. d.— Lawers lap, 4^o. b. 21, 28. dreame 4^o. b. 21, 29. a not in the 1^st. F. 21, 30. Persons 4^o. a. as he lies 2^d. F. r.— 22, 4. eares F^s. r.— 22, 8. Elklocks 4^o. a. 22, 9. breedes 4^o. A. 22, 23. his side to 4^s. a. b. c. d. F^s. r. 22, 32. stirrage 4^s. a. b. c. F^s. 23, 1. my saile 4^o. A. 23, 9. all not in the F^s. r. 23, 13. loves 4^s. 23, 23. will walke about 4^s. a. b. c. d. F^s. r. 23, 24. ha not in 4^o. a.— Ah me Mis&wblank; 2^d. F. 23, 26. you now 4^s. c. d. 24, 1. a not in the F^s. r. 24, 2. you knaves 4^s. a. b. c. d. 1^st. F. 24, 9. a Make? 4^o. d. 24, 12. Lucientio 4^s. 24, 20. Ladie is 4^s. b. c. d. F^s. r. 24, 24. It seemes she hangs 4^s. 1^st. F. 24, 27. showes 4^o. a. &break; snowe 4^o. c. 24, 30. make happy my 4^o. A. p.— 24, 32. never F^s. 25, 3. antique 4^s. b. c. d. F^s. 25, 6. in not 2^d. F. 25, 10. To mocke at 4^o. A. 25, 17. the towne F^s. r. 25, 21. Beare a 4^o. A. 25, 29. among the guests F^s. r. 26, 1. tis so 2^d. F. r. 26, 5. or more light, for D^o. 26, 10. bittrest 4^o. a. 26, 12. unworthiest 4^s. a. b. c. d. F^s. r. 26, 14. be this O. 26, 15. lips to b. p. did ready 4^s. a. b. c. 1^st. F. 26, 18. showes 4^o. a. 26, 19. hand, doe 2^d. F. r. 26, 26. not till my 4^o. A. effect doe take 2^d. F. r. 27. by thine my 4^o. a.— 27, 5. talke 2^d. F. r. p. o.

27, 23. is yong 4^o. A. p.— 27, 24. follows here 4^o. a.— 27, 29. of our 2^d. F. r. 27, 31. unknow, 2^d. F. 27, 32. is this to 4^o. A. 28, 1. I should love D^o. 28, 2. Whats tis, whats tis 4^s. 28, 3. learne 1^st. F. 28, 12. groned and 4^o. d. 28, 13. match 4^o. a. 28, 23. Tempting 2^d. F. r. p. 28, 29. find my Centour 2^d. F. r. 29, 6. Romeo &c. Mercutio's speech begins here, in 4^s. a. b. & the F^s. madam 4^s. c. d. 29, 7. sight 2^d. F. 29, 8. on 4^o. a. &break; time 2^d. F. r. 29, 9. Cry me but D^o. ay me, provaunt, but 4^s. a. b. 1^st. F. pronounce but 4^s. c. d. love and day 4^s. a. b. F^s. r. love and die 4^s. c. d. 29, 11. nickname to her 4^o. d. and her, 4^s. a. b. F^s. r. 29, 12. so true 4^o. a.— 29, 13. begger wench 4^o. A. 29, 14. striveth 4^o. b. 29, 15. and not in the 1^st. F. 29, 16. eye 4^o. A. 29, 24. there not in the 1^st. F. 29, 27. honest, and in 4^o. b.— 29, 29. these 4^o. a.— 29, 32. love will not 4^o. A. 30, 4. O Romeo—O that 4^o. a.— 30, 5. open, or thou 4^s. a. b. F^s. r. &break; open & cætera, and thou 4^s. c. d. Poprin. 4^s. a. b. F^s. r. 30, 6. trundle bed 4^o. A. 30, 22. but pale and D^o. 30, 30. busines to entreate 4^o. a. 31, 15. lazie puffing 4^s. a. b. c. d. F^s. r. 31, 21. here 2^d. F. speake to this 4^o. A. 31, 25. nor face, O be some other name &break; Belonging to a man. &break; What's in &c. 4^s. a. b. c. d. F^s. r. 31, 26. names 1^st. F. 31, 27. other word would 4^s. a. b. c. d. F^s. r. 31, 31. for thy name 4^o. a.—t. w. 32, 12. yet not 4^o. a.— 32, 13. Of thy 4^s. a. b. c. d. F^s. r. utterance 4^o. A. 32, 15. faire maide, if 4^s. a. b. c. d. F^s. r. displease 4^o. A. p. 32, 23. no stop to 4^o. a.— 32, 29. their eyes D^o. 33, 2. love that first D^o. 33, 4. Pylat 4^o. a. 33, 5. washeth D^o. washet 4^o. b. 33, 6. I should 4^s. a. b. c. d. F^s. r. 33, 11. Complements 2^d. F. r. 33, 12. Love? O, I D^o. me not in the F^s. r. 33, 15. laught, 1^st. F. 33, 21. behaviour 4^s. a. b. c. d. 1^st. F. 33, 23. more not in 4^s. a. b. 1^st. F. coying 4^s. a. b. c. d. 1^st. F. coyning 2^d. F. 1.

33, 26. true love 4^s. a. b. c. 33, 29. blessed not in the F^s. r. I sweare, 4^o. A. 33, 32. circle 4^o. a. 34, 5. Which art the 4^o. A. 34, 10. sodden 2^d. F. 34, 19. vow of mine 2^d. F. r. 35, 8. rights 4^o. c. &break; rites 4^o. d. 35, 10. my L. 4^s. a. b. my Love 4^s. c. d. p. t. w. 35, 16. thy strife, and 4^s. a. b. F^s. r. 35, 20. sight 4^s. c. d. 35, 27. not not in 4^o. c. 35, 29. mine not in 4^s. a. b. F^s. r. then with &break; The repetition 2^d. F. r. 35, 31. my love that 4^s. c. d. p.— 36, 4. My Neece. 4^s. a. b. 1^st. F. My Deere. 4^s. c. d. 36, 5. At not in 4^s. a. b. c. d. F^s. r. 36, 7. Ro. By the 4^o. a.— 36, 8. yeare 4^o. a. 36, 10. stay 4^o. A, &break; 11. D^o, D^o. 36, 14. other name 2^d. F. r. 36, 16. further F^s.— 36, 17. That lets 4^o. a.— his hand 4^s. a. b. c. d. F^s. r. 36, 18. a not in 4^o. c. 36, 19. silken 4^s. a. b. c. d. F^s. r. back not in the 2^d. F. r. 36, 20. Too loving 4^o. A. 36, 24. in such 2^d. F. 37, 6. The world to 4^o. A. 37, 9. in her 4^s. c. d. 37, 16. Plants, hearbes, 4^o. a. Plaints 2^d. F. 37, 18. to't the O. 37, 20. Revolts to vice and stumbles on abuse 4^o. A. 37, 22. sometime 4^o. a.— 37, 23. this weake flower 4^s. a. b. c. d. F^s. r. 37, 26. staies 4^o. a. 37, 27. opposed foes 4^o. A. p. t. o. 38, 6. lodgeth 2^d. F. r. 38, 10. with some 4^s. a. b. c. d. F^s. r. 38, 25. Son, rest homely F^s. r. 38, 28. daunger 2^d. F. 39, 4. that thou 4^s. a. b. c. F^s. r. 39, 8. fallow 2^d. F. 39, 9. throne 4^o. c. 39, 10. of love doth 4^o. A. 39, 12. ringing in 4^s. a. b. 1^st. F. mine 4^s. a. d. 39, 15. If ever thou wert thus, and 4^o. A. 39, 24. not, her I 4^s. a. b. c. d. F^s. r. 39, 28. rote, that could D^o. no spell 4^o. c. 39, 29. come and goe 4^s. c. d. 39, 32. houshold F^s.— 40, 13. spake 4^o. A. 40, 14. Mer. Why that 4^o. a.— 40, 16. kinsman to old D^o. 40, 24. eye, runne through D^o. 40, 28. Ro. Why 4^s. 40, 29. I can tell you not in 4^o. a.— hee's 4^o. a.— 40, 32. rests me his minum rest 4^o. A. minum rests, one 4^o. a.— 41, 1. wery 2^d. F. &break; a dualist, a

dualist 4^s. a. b. c. d. F^s. 41, 6. affected P.— 41, 7. phantacies, 4^o. a.— accent 4^s. a. b. c. d. F^s. r. By not in the F^s. r.— 41, 11. pardons mees, 4^o. a. pardona-mees, 4^s. c. d. pardonnez-moy's T.— 41, 12. the can 2^d. F. 41, 13. their bon's, their bons! T. w. 41, 15. Here comes Romeo only once in 4^o. A. 41, 28. good not in the F^s. r. 42, 6. Why not in 4^o. A. 42, 7. Mer. Sure wit follow 4^o. a.— 42, 9. soly singular 4^s. 42, 13. wits 4^s. a. b. c. 1^st. F. faint 4^o. d. 42, 16. if our wits. 4^o. a.— I am done D^o. 42, 20. was never 2^d. F. 42, 26. not then well 4^o. a. 43, 4. hid 1^st. F. 43, 6. desir'st F^s. &break; 10. or I D^o. 43, 12. Ro. Heres goodly geare. A sayle, a sayle. Mer. Two, two, &c. 4^o. a.— 43, 19. Mer. Good Peter to hide her face, for her fans the fairer face. 4^s. a. b. c. d. F^s. r. 43, 22. Gentlewomen 2^d. F. 43, 23. It is D^o. &break; 24. yee, 4^o. a. 43, 30. Gentleman 2^d. F. 44, 7. If thou 4^s. c. d. conference 4^o. A. 44, 9. invite D^o. r. p. envite 2^d. F. to some supper 4^o. a.— 44, 23. farewell sweet Ladie. Nur. Marry farewel. Pray what s. m. w. t. t. w. s. f. of his roperipe? 4^o. A. 44, 30. Nur: If hee stand to any D^o. 45, 1. Gil-flurts 4^s. c. d. of her 4^o. d. 45, 10. bid 4^o. a.— &break; 11. D^o, D^o. 45, 12. in a 4^s. a. b. c. d. F^s. r. 45, 16. Gentlewomen, 2^d. F. 45, 18. Nur. Nurse 1^st. F. 45, 24. a not in 4^o. c. 45, 32. stay thou good F^s. r. 46, 2. tackling 4^o. d. 46, 4. conduct in 4^o. A. 46, 5. quit 4^o. a. 46, 12. man F^s. I not in the 4^s. 1^st. F. 46, 17. a see 1^st. F. 46, 18. angerer 4^o. c. 46, 26. dog 4^o. a. 47, 10. Herauld F^s. 47, 17. I three D^o. there long 4^o. a. 47, 19. She would 4^s. 1^st. F. 47, 28. lookes 2^d. F. 48, 1. Oh I am weary 4^o. A. I am weary 4^o. d. 48, 2. Lord how 4^o. A. jaunce 4^s. a. b. had not in 4^o. a. 48, 4. good only once in the 2^d. F. r. p. o. 48, 6. that not in the 2^d. F. 48, 16. legs F^s.—

48, 18. and body 4^s. c. d. bawdy 2^d. F. r. 48, 20. I warrant D^o. 48, 21. gentle a F^s. r. 48, 23. this this 1^st. F. 48, 27. a my 4^s. a. b. c. ah my 4^o. d. 48, 29. jaunsing 4^s. a. b. 48, 30. art so well 1^st. F. so ill 2^d. F.— 49, 6. is my Mother 2^d. F. r. 49, 17. scarlot 2^d. F. 50, 8. lothsomnesse in 4^s. c. d. 50, 20. in his 4^s. c. d. F^s. are his R.— 50, 21. Fri. Ah 1^st. F. 50, 24. musicke 4^s. a. b. 50, 30. such such 1^st. F. 50, 31. some of 4^s. c. d. F^s. 51, 8. Capels 4^s. a. b. 51, 11. these 4^s. a. b. c. d. F^s. 51, 14. draws him on D^o, & r. 52, 3. from quarelling D^o. 52, 9. comes a Capolet 4^o. A. comes 4^s. a. b. c. 1^st. F. 52, 16. you shall give 4^o. d. 52, 23. dance. Come consort F^s. r. 53, 3. the love I 4^s. a. b. c. d. F^s. r. t. o. w. 53, 7. Villain am I none not in the 2^d. F. r. &break; I am 4^o. d. 53, 12. lov'd F^s. r. 53, 15. mine owne 4^o. a. 53, 17. is away 2^d. F. 53, 19. woulds F^s. 53, 32. Forbidden F^s. r.— this not in 4^o. b.— 54, 1. Verona's 4^o. d. 54, 4. of both 2^d. F. r.— 54, 14. D^o, D^o. 54, 15. sounds a 4^s. a. b. c. zounds a 4^o. d. 54, 29. my Cozin, 4^o. a.— 55, 1. Mercutio is 4^s. a. b. c. 1^st. F. 55, 4. mo 4^s. a. b. c. F^s. doe depend 2^d. F. 55, 8. Rom: Alive in 4^o. A. p.— Ro. He gon in 4^s. b. c. d. F^s. r. 55, 10. fier end 4^o. a. fire and fury 4^s. b. c. d. F^s. r. 55, 12. Which late 4^o. A. 55, 13. above the cloudes D^o. 55, 14. And staies for thine to beare him D^o. 55, 15. Or thou, or I, or both shall follow him. D^o. 55, 30. names 1^st. F. 56, 1. vild 2^d. F. 56, 11. bloody not in the F^s. r.— 56, 13. bid 4^s. a. b. c. F^s. r. 56, 17. not make truce 56, 26. His aged 1^st. F. His able 2^d. F. r. 57, 12. Cap. Not &c. 4^s. a. b. F^s. 57, 17. hearts 4^s. a. b. c. d. F^s. r. p. t. &break; heats O. w. 57, 21. It will 1^st. F. 57, 22. our abuses F^s. r. purchase for abuses 4^o. A. 57, 24. is the last 4^o. d. 57, 31. Toward 2^d. F. r. To Phœbus mansion 4^o. A. p.— 58, 4. Leapt 2^d. F. 58, 6. And by 4^s. a. b. 1^st. F.

58, 10. maiden hoods D^o. 58, 16. new not in 4^s. c. d. t. w. upon 4^s. a. b. c. d. 1^st. F. t. w. 58, 18. when I shall 4^s. a. b. F^s. r. 58, 21. world will be 4^s. a. b. c. F^s. r. p. o. 59, 5. he's dead only twice in the F^s. r. 59, 20. of not in 4^s. a. b. c. 59, 24. bedawde 4^o. c. bedeaw'd 4^o. d. 59, 25. swounded 4^o. A. swooned 4^o. d.— 59, 26. banckrout 4^s. a. b. c. F^s. 59, 29. on 4^s. a. b. 1^st. F. beare 4^o. a. 59, 32. Gentlemen 2^d. F. 60, 2. bowes 2^d. F. 60, 10. n. b. Here again, as in p. 36, (concerning which, see a note) the speeches are diversly misplac'd in 4^s. a. b. and the F^s. but 4^s. c. & d. have adjusted them as in the text. 60, 16. shew 4^o. d. 60, 18. dimme 4^o. a. dimne 1^st. F. 60, 20. didst powre 4^o. c. poure 4^o. d. 61, 4. at not in the 1^st. F. chide him so? 2^d. F. r.— 61, 13. your 2^d. F. 61, 15. have kild my 4^s. c. d. 2^d. F.— 61, 17. words 4^s. b. c. d. 1^st. F. there were 4^o. d. 62, 5. course 4^s. a. b. 62, 14. cord 4^s. b. c. d. F^s. r. t. w. 63, 9. Hence O. 63, 13. blanisht 4^o. a. 63, 14. world exilde 4^o. A. p.— 63, 15. death banished 4^s. a. b. c. d. F^s. r. &break; 20. hath push'd 63, 22. is meere mer&wblank; 4^o. A. p. o. 63, 26. Lives R.— 63, 31. blessings D^o. 64, 1. &lblank; their owne kisses sin. This may flies doe, when I from this must flie, &break; And saist thou yet, that exile is not death? &break; But Romeo may not, hee is banished. 4^o. a.— 64, 2. Flies may &c. This line, and the next, are not in the F^s. r.— 64, 4. sharpt 2^d. F. grownd 4^o. d. 64, 8. Howling 4^s. attends 4^s. 1^st. F. hadst 4^o. A. 64, 10. obsolver 4^s. 64, 12. Then fond 4^s. a. b. 1^st. F. Thou & a little not in the F^s. r.— 64, 14. to beare off 4^o. A. p. o. 64, 21. man 4^o. a. 64, 22. that not in 4^s. b. c. d. 64, 23. dispaire F^s. r. 64, 24. of that 4^s. a. b. c. d. F^s. r. 64, 25. as Juliet my love F^s. r. 65, 8. what wilfulnes 4^o. A. p.— 65, 19. cause 2^d. F. 65, 27. deaths 4^s. a. b. c. F^s. r. Wel death's 4^o. A. 65, 28. Speak'st F^s. r.— ist 4^o. d.

65, 30. child-head D^o. 66, 1. conceal'd Love? F^s. r. 66, 7. dead levell 1^st. F. 66, 11. Anotamy 2^d. F. 66, 16. devote 4^s. a. b. doe note 2^d. F. r. 66, 23. lies 4^s. a. b. c. d. F^s. 66, 29. a Usurer 4^s. a. b. c. F^s. 67, 1. Disgressing 4^s. c. d. 67, 12. too not in the 4^s. 1^st. F. 67, 13. became F^s. r.— 67, 14. turne 4^o. b. turn'd F^s. r.— 67, 15. or blessing 1^st. F. lights 4^o. c. 67, 16. in his best 4^o. A. 67, 17. misbehav'd 4^s. c. d. p.— mishaped F^s. and sullen 4^s. 1^st. F. p.— 67, 18. puts up thy 4^s. a. b. powts 4^o. c. puttest up thy F^s. r. 67, 26. thy Prince 4^o. b. F^s. r. p. t. w. 68, 1. the not in the F^s. r.— 68, 5. bad 4^o. A. &break; bids 4^s. c. d. 68, 11. disguise 4^o. a. 69, 4. will me D^o. 69, 7. hereof 4^o. b. here with 4^o. d. 69, 11. wednesday 4^o. d.— 69, 26. very not in the F^s. r. 70, 3. it is not yet near day not in the 2^d. F. r. 70, 8. of Morne 2^d. F. 70, 12. Mountaine 4^o. a. 2^d. F. r. p. o. 70, 15. exhale 4^s. a. d. 70, 18. to not in 4^o. d. 70, 23. the not in the 1^st. F. 70, 27. What says my Love? lets talke, tis not yet day. 4^o. A. 71, 5. it light F^s. 71, 16. ay husband 4^s. 1^st. F. 71, 25. time 4^o. b.— 71, 26. Ro. O God 4^o. a. 71, 27. art below 4^o. A. p.— 72, 3. renowmd 4^s. a. b. c. 72, 7. it is my 4^s. 72, 9. her either? 4^o. b. 72, 27. he be many 4^s. a. b. c. d. F^s. r. 72, 28. him not in the 1^st. F. 72, 30. murderer not in 4^o. b.— 73, 4. an accustom'd 4^o. c. 73, 11. I'd so temper it, 73, 15. Tybalt not in the 4^s. 73, 18. tiding 4^o. c. 73, 19. needy 4^s. a. b. c. d. F^s. r. 73, 20. I not in 4^s. a. b. 1^st. F. 73, 24. looke 2^d. F. 73, 25. is this? F^s. r.— 73, 29. happly 4^s. b. c. there not in the F^s. r.— 74, 8. Mer. Here 4^o. c. 74, 9. you 2^d. F. 74, 10. the earth doth 4^s. a. b. F^s. r. 74, 15. counterfeits 4^s. a. b. c. F^s. r. 74, 17. is not in the 2^d. F. r. 74, 19. the teares F^s. r. 74, 23. give 4^o. a. 74, 29. Bride? D^o. &break; 31. I have F^s. 75, 1. How now, how now 4^s. b. c. d. F^s.—

chopt 4^s. a. b. c. d. F^s. r. 75, 3. And yet &c. This line not in the F^s. r. p. &break; 5. fettle 4^s. 75, 18. had sent 4^o. A. p.— 75, 25. gossip F^s. r. 75, 27. Cap. O &c. 4^s. a. b. and the 1^st. F. have the word— Father,— and 4^s. c. d. the syllable—Fa.—before this exclamation: but neither of these being in the 2^d. F, the subsequent editions have tack'd it to the Nurse's speech; induc'd by this omission in the 2^d. F; and by another of the Nurse's name, before the next speech, in 4^s. a. b. and the F^s. 76, 1. Fa. Gods bread, it makes me mad, &break; Day, night, houre, tide, time, worke, play, &break; Alone in companie, still my &c. 4^s. a. b. c. d. F^s. r. 76, 4. to see her 4^o. A. 76, 5. of noble parentage 4^o. a.— 76, 6. nobly liand 4^o. a. (f. 'lianc'd) nobly allied 4^o. b.— 76, 8. ones thought would 4^o. a.— 76, 20. ever 4^o. c. d. p.— 77, 12. Count, 2^d. F. r.— 77, 16. beshrow 4^s. a. b. c. 77, 22. And my 77, 23. Or not in 4^o. a. 77, 26. wondrous 4^o. A. 77, 32. It is 1^st. F. 78, 16. talke 4^s. a. b. c. F^s. r. 78, 19. doth give 4^o. b.— 78, 24. haste? 4^o. c.— 78, 26. toward 4^o. a. 79, 2. that, I should confesse 4^s. a. b. c. d. F^s. r. 79, 5. ye, I 4^o. a.— 79, 6. Ju. And if I doe, it 4^o. A. 79, 11. teares by that D^o. 79, 12. no slaunder sir 4^o. a.— no not in 4^o. c. a not in the 2^d. F. r.— 79, 13. to thy face 1^st. F. 79, 19. Lord you must D^o. Lord I must 2^d. F. r.— 79, 25. care 4^s. a. b. c. F^s. 79, 26. Fri. O Juliet 4^o. a.— 79, 27. streames me 1^st. F. 79, 29. Countie 4^s. 1^st. F. 80, 4. Romeo's 4^s. 80, 8. expetien'st 1^st. F. 80, 11. vmpeere D^o. 80, 20. or will 4^o. A. p. o. to stay 4^s. a. b. 1^st. F. to lay 2^d. F. 80, 23. coop'st 4^s. c. d. &break; fro it F^s. 80, 26. of yonder tower 4^o. A. p.— 80, 31. chapels 4^s. a. b. 1^st. F. 81, 1. shroud not in 4^s. a. b. his grave, F^s. r. 81, 2. them namde have 4^o. A. p.— 81, 6. wensday 4^s. a. b. c. F^s. 81, 10. distilling 4^s. a. b. c. d. F^s. 81, 12. A dull and heavie slumber, which shall seaze &break; Each vitall spirit: for no Pulse shall keepe &break; His naturall progresse, but surcease to beate: &break; No signe of breath

shall 4^o. A. 81, 14. breast 4^o. a. 81, 16. Too many ashes 4^s. a. b. 1^st. F. To mealy 2^d. F. r. the eyes 4^s. b. c. F^s. r. p. o. 81, 17. shut 1^st. F. 81, 26. In [Is 4^o. a.] thy best robes uncovered on the Beere, &break; Be borne to buriall in thy kindreds grave: &break; Thou shalt &c. 4^s. F^s. r. p. t. w. 81, 31. —and he and I &break; Will watch thy waking, not in the F^s. r. &break; 32. walking 4^o. a. 82, 3. joy 4^s. c. d. 82, 5. of care. 1^st. F. 82, 28. wield 4^o. a. 83, 1. me not in 4^s. c. d. 83, 7. Count 2^d. F. r. p. 83, 15. reverend holy 4^s. a. b. c. F^s. r.— 83, 20. there's 1^st. F. 83, 23. privision 4^o. d. 83, 31. up him 4^s. 84, 13. behoofefull 4^s. a. b. c. 1^st. F. 84, 24. of fire: F^s. r. 84, 30. Must I of force be married to the Countie? 4^o. A. 85, 5. an holy 4^o. d. 85, 8. Comes to P.— 85, 16. for this 4^o. a. 85, 25. Or if 4^s. c. d. 2^d. F. r. p. t. w. walke 4^s. a. b. F^s. r. 86, 1. Upon my 1^st. F. Upon his Rapiers 2^d. F. r. 86, 2. Romeo, Romeo, Romeo, heeres drinke, I drinke to thee. 4^s. a. b. c. d. F^s. r. 86, 20. a not in the 4^s. 1^st. F. lesser 4^o. a. 87, 2. good father, 4^s. a. b. 1^st. F. 87, 16. her she, 4^s 1^st. F. 87, 19. penniworth 4^o. d. 87, 24. must needs 4^o. b.— 88, 1. wereaday 4^o. a. 88, 29. see not in the 4^s. 1^st. F. 88, 30. now not in D^o. 89, 2. love to 4^o. a. 89, 9. snatch'd &break; 12. bedold 4^o. a. 90, 1. heaven, that she 2^d. F. r. 90, 3. himselfe 4^o. d. 90, 10. And in her 4^o. a.— 90, 11. though some na&wblank; 4^s. 1^st. F. w. all us F^s. r. 90. 30. I my my 4^o. a. 90. 31. Enter Servingman. 4^o. A. Enter Will Kemp. 4^s. a. b. Enter Peter. 4^s. c. d. F^s.— 91, 4. of woe not in 4^s. a. b. F^s. r. O play me some merry dump, to comfort me. not in the F^s. r. 91, 12. Ministrell 2^d. F. r. 91, 14. I say 4^o. c. 91, 20. Then have at you with my wit; these words are join'd to the second Minstrel's speech, in 4^s. a. b. F^s. r. 91, 23. griefes 4^s. a. b. c. d. F^s. r. p. t. 91, 24. and doleful &c. This line not in 4^o. a.— 91, 29. Pretie, 4^o. A. p.—

91, 32. D^o, D^o. Prates, 4^s. a. b. Pratest, F^s. r. Sound-board? P.— 92, 4. Because Musitions have no gold for sounding: 4^s. a. b. c. d. F^s. r. 92, 18. flattering Eye of 4^o. A. flattery of P. o. flattering ruth of W. 92, 20. in his 4^s. a. b. c. F^s. r. 92, 21. this an day an uccustom'd 1^st. F. &break; this winged unaccustom'd 2^d. F. r. 92, 24. dreames 4^o. c. give 4^o. d. 93, 5. live, 1^st. F. 93, 10. Is it in so 4^o. a. defie you 4^o. A. p.— 93, 20. Mo matter 1^st. F. 93, 27. he not in the 1^st. F. a dwells 4^s. a. b. c. which late 4^s. a. b. c. d. F^s. r. 94, 8. persent 1^st. F. 94, 29. thine eye 4^o. d. 94, 30. hang on 2^d. F. r. p. o. hang 4^o. d. t. w. 95, 3. pray 4^s. a. b. F^s. r. 95, 7. There's F^s. 95, 8. murther 4^s. a. b. F^s. r. p. o. 95, 11. get thee into flesh. 4^o. A. p.— 95, 21. his not in the 2^d. F. 96, 10. this three 4^s. a. b. c. F^s. r. 96, 21. aloft F^s. 96, 24. yond yong Trees 4^s. a. b. c. d. F^s. r. &break; alone 2^d. F. 96, 25. thy eare 4^o. a.— 96, 31. along 2^d. F. 97, 3. Canapie 4^s. a. b. c. 97, 4. will new 4^o. d. 97, 10. wayes 1^st. F. 97, 11. right? 4^s. a. b. c. d. F^s. r. 97, 12. night muffle me 4^o. d. 97, 13. Enter Romeo, and Peter. 4^s. a. b. F^s. r. p. 97, 15. the mattocke 4^s. c. d. 97, 28. farther 4^s. 98, 2. ye. 4^o. a. 98, 25. those F^s. r. p. o. 98, 27. Heape not 4^o. A. Pull R.— &break; Pluck 99, 1. commiseration 4^o. b.— conjurations 4^o. A. 99, 2. And doe attach thee as a fellon heere, D^o. 99, 5. Pet. O Lord F^s. [In 4^s. a. b. this line is printed in Italicks, and no name prefix'd to it.] 99, 11. Mecutius 4^o. b. F^s. 99, 29. suck 2^d. F. 100, 5. thy enemie F^s. r.— 100, 7. —faire? I will beleeve, Shall I beleeve that 4^s. a. b. c. d. F^s. r. 100, 12. pallat 4^o. a. 100, 13. Depart againe: come lie thou in my armes, [arme 4^s. a. b.] Heere's to thy health, where ere thou tumblest in. &break; O true Appothecarie! &break; Thy drugs are quicke. Thus with a kisse I die. &break; Depart againe;

here, here &c. 4^s. a. b. F^s. r. 100, 18. worlds 2^d. F. r. 100, 31. Frances 4^o. a. 101, 5. I not in the 2^d. F. 101, 18. feares F^s. r. &break; come 2^d. F. 101, 19. unthriftie 4^o. a. 102, 1. where's F^s. r. p. o. 102, 17. drunke 4^o. a. left no 4^s. a. b. c. F^s. r. 102, 25. Tis 4^o. b. Tis in thy F^s. r. 103, 3. this two 4^o. a. 103, 13. comes 2^d. F. r.— 103, 17. the church&wblank; Church-yards 4^o. a. 103, 18. too too. 4^s. a. b. c. 103, 21. morning 4^s. a. b. 103, 23. that is so 4^o. a. 104, 1. slaughter D^o. 104, 6. heavens! D^o. 104, 9. And it misheathd D^o. 104, 13. earling D^o. 104, 17. mine age D^o 104, 19. in is F^s. 104, 21. moneth 4^o. c. 106, 1. awakening 4^o. a. 106, 11. before the time 4^o. b.— 106, 14. say to this 4^o. a.— 106, 20. least 4^o. b. 107, 12. raie 4^s. a. b. 107, 13. whiles 4^s. a. b. c. d. 107, 14. at that rate 4^o. b.— that name 4^o. c. 107, 16. Romeos by his Ladies 4^s. a. b. c. d. 107, 18. gloomie 4^o. A. r.—
7. go by S. Jeronimie, F^s. r. p. go by, says Jeronimy; 4, 10. better not in the 4^o. 5, 3. Bath his foul hide 6, 17. Sincklo. I thinke 1^st. F. 4^o. Sin. 2^d. F. 7, 9. He bare 4^o. 7, 14. Honor doth com&wblank; D^o. 7, 21. for twice seven T.— esteem'd himself R.— 9, 27. Thy bounds 4^o. 10, 24. Christopher 1^st. F. 4^o. 11, 13. Naps o' th' Green, O. 11, 14. Harry 12, 12. you former 4^o. 13, 19. haply 1^st. F. 4^o. t. w. 13, 25. Vincentio's sonne, F^s. r. 14, 4. Pardinato 4^o. 15, 18. deliver me. O. 16, 29. There love 4^o. 17, 14. any a man 2^d. F.

17, 17. lewd 2^d. F. r. 17, 25. But not in the 2^d. F. r. p. o. 18, 2. throughly 2^d. F.— 18, 19. have not in the 2^d. F.— 18, 20. captam 1^st. F. 4^o. 18, 22. counsels D^o. 19, 5. pray you awake 4^o. 19, 14. Together 2^d. F. 21, 14. you master 1^st. F. 4^o. 21, 17. 'mong 2^d. F. r. 22, 26. trobatto 1^st. F. 4^o. 22, 27. ben 2^d. F.— 22, 28. honorata 1^st. F. 4^o. 24, 2. Signior not in the 4^o. 24, 10. in time. Were 2^d. F. r. she is as 1^st. F. 24, 25. faults 1^st. F. 4^o. 24, 27. shrowd D^o. 25, 2. is not in the 4^o. 25, 16. begins 4^o. his rhetorick; O. (rather, rhetoricks 25, 25. with-holds hee from 2^d. F.— 26, 13. theirs head 2^d. F. 26, 14. ha. not in the 4^o. 28, 7. have stomacke 4^o. 29, 14. if not in the 4^o. 29, 16. you not in the F^s. r.— 29, 22. she's F^s. r.— 29, 24. with not in the 4^o. 30, 2. Sir not in the D^o. 30, 4. as to aske 2^d. F.— 31, 18. thee not in the 1^st. F. 31, 23. It's 4^o. 31, 24. If thou D^o. 31, 27. you fine. 31, 31. unite 4^o. 32, 5. the needle 4^o. 32, 19. Was never 2^d. F. 32, 26. Gremio:—Save you 32, 29. fair not in the 4^s. 33, 21. but what I 2^d. F.— 33, 28. Bacare, 1^st. F. 4^o. 34, 9. pray you acc&wblank; 4^o. 34, 16. thy selfe 2^d. F. 35, 6. two not in the 1^st. F. 4^o. then not in D^o. In to my daughters; tell them both from me, 35, 14. know 2^d. F. r. 35, 23. whosoever 2^d. F. 36, 7. shakes 1^st. F. 4^o. 36, 13. sooner not in the 4^o. 36, 19. moist 4^o. 36, 31. discomforted 37, 4. I attend 2^d. F. 37, 31. founded D^o. 38, 2. hether F^s. 38, 10. sir not in the 1^st. F. 4^o. 38, 27. of tales F^s. r. 39, 27. a sconce 1^st. F. 4^o. 40, 25. wild Kat to 2^d. F. wild Cat to R.— 43, 3. have my Bi&wblank; 1^st. F. 4^o. 43, 10. arras, counterpanes, P.— 43, 16. pale 1^st. F. 4^o. 44, 2. Marcellus D^o. 45, 4. wonders 4^o. 45, 5. winning 45, 26. not not in the 4^o. 46, 8. Sigeria 1^st. F. 4^o. 46, 12 & 23. D^o, D^o. 46, 14. staterat 4^o. 46, 31. that knave 2^d. F.— 47, 10. Bian. You 2^d. F. 48, 2. charge 1^st. F. 4^o. 48, 12. was in 4^o.

49, 8. yes not in the 1^st. F. 4^o. 49, 16. knew 4^o. 49, 18. him not in the 4^o. 49, 22. a very saint 1^st. F. 4^o. 49, 23. thy not in D^o. 50, 10. saddle, and stirr&wblank; 1^st. F. 4^o. 50, 11. mourn in O. 50, 12. the farcin, D^o. 51, 1. howsoever 2^d. F.— 51, 20. is is 4^o. 52, 31. I not in the 1^st. F. 4^o. 53, 29. Did ask O. 54, 4. wretch up not in the 1^st. F. 4^o. 56, 2. maide 4^o. 56, 8. you selves 2^d. F. 57, 2. you shall have the 58, 22. wilt thou 1^st. F. 58, 31. thee what newes 2^d. F.— 59, 27. the grave 4^o. 59, 28. is not in the 4^o. 60, 24. things is readie 1^st. F. 4^o. 61, 3. attendants 4^o. 61, 8. the rascal 2^d. F. r. p. o. 61, 15. here are not in the 2^d. F. r. 62, 15. Peter. I. 1^st. F. 4^o. 63, 11. sweare 2^d. F. 63, 31. I'll pretend P.— 64, 18. Luc. Sir, to 1^st. F. 4^o. 64, 21. Hor. Now D^o. 64, 23. Hor. I D^o. art of love P.— 65, 28. so not in the 2^d. F. 66, 24. surly 2^d. F. t. o. 66, 30. Par. Take me 1^st. F. 4^o. 67, 12. one of Mantua O. 68, 9. this city 68, 19. sir not in the 1^st. F. 4^o. 69, 11. too chollericke 1^st. F. 4^o. 70, 27. With hast 2^d. F. 70, 28. The decke D^o. 71, 19. utmost P.— 72, 1. growne 2^d. F. 72, 3. fashion of the P.— 72, 15. Oh most mon&wblank; 2^d. F. r. p. t. w. 73, 23. should know 2^d. F. 74, 16. 'peareth 74, 21. good not in the 4^o. 76, 16. sir not in the 1^st. F. 4^o. 76, 17. finde readie and willing 1^st. F. 4^o. 77, 5. happily D^o. &break; haply 2^d. F.— may be 4^o. 77, 6. sir not in the 1^st. F. 4^o. 77, 21. We come 2^d. F. 77, 26. laugh, and wink 78, 7. expect they 1^st. F. 4^o. w. 78, 9. previlegio ad Impre&wblank; 1^st. F. 4^o. 78, 30. towards 4^o. r.— 79, 3. shine, 4^o. 79, 5. I I 2^d. F. 79, 7. Go one, and 79, 11. your please 2^d. F. 79, 17. in the 1^st. F. 80, 4. make the woman 1^st. F. 4^o. 80, 7. Whether away, or whether is D^o. 80, 9. whose favourable 81, 6. Gentlewoman 4^o. 81, 7. embrace thee, old 81, 19. be not in the 1^st. F. 4^o. 82, 18. well not in the 4^o. r.— 82, 24. out of the 4^o. r.— 83, 12. my old worshipfull old master F^s. r.—

84, 2. what cernes 1^st. F. 4^o. 85, 6. all done 2^d. F. 85, 25. at the last 1^st. F. 4^o. 86, 2. villaine 2^d. F.— 86, 19. thee not in the 4^o. 86, 21. Better late than O. 87, 22. Hor. Then never 2^d. F. r. p. 88, 14. doe put 2^d. F. r. p. o. 88, 17. the lad 1^st. F. 4^o. 89, 15. therefore sir ass&wblank; D^o. 89, 32. you half 4^o. 91, 5. then hither 2^d. F. 91, 18. shew more 4^o. 92, 10. threating 2^d. F. 92, 14. frosts doe bite 1^st. F. 4^o. 92, 28. fare looks 4^o. 93, 14. heart is great 2^d. F. r. p. 93, 25. Bap. Well, go 94, 2. be not in the 4^o.
5, 3. from drowning T. w. 5, 27. ling, heath, broom, furze, any &c. O. 6, 7. creatures T. 6, 13. fraighted P. o. 6, 21. naught 1^st. F. 6, 22. more, or better P. o. 7, 1. such compassion in 2^d. F. r. p. 7, 2. no Soul lost, R. p. o. w. no foyle, T. 7, 3. an hair's 7, 9. to the bootlesse 2^d. F. r. p. o. 8, 31. whom—whom 2^d. F.— 9, 11. so not in the 2^d. F. r. 9, 20. telling oft, W. Who loving an untruth, and telling't oft, &break; Makes such O. 9, 23. hence is Am&wblank; 2^d. F. 9, 30. Millanie, 1^st. F. 10, 5. To much ignoble 2^d. F. r. p. o. 11, 11. tackle, sayle, nor 1^st. F. r. p. o. 12, 30. be it 2^d. F. r. 13, 1. qualities. P.— 13, 7. sometime 1^st. F. 13, 9. Bolt-sprit, R.— 13, 14. Seem'd P.— 13, 15. dead 2^d. F. 13, 20. the mind, and P.— 14, 32. Which is't 2^d. F. 15, 5. made no P.— made n. m, serv'd thee 15, 13. To ride upon U. 15, 19. Was gowne 2^d. F. 15, 27. human earing 16, 9. years; in which

16, 12. the Sunne that 2^d. F. 17, 4. to not in the 1^st. F. 17, 20. ferves Offices 2^d. F. r. 18, 9. honey-combs, P.— 18, 20. that did 1^st. F. 18, 27. nor kindnes: 2^d. F. 19, 1. Tis Isle D^o. 19, 3. will not 2^d. F. r. p. o. 20, 16. creept 2^d. F. 20, 20. begin: D^o. 21, 24. made 4^th. F.— 22, 14. so urgently? 2^d. F. 23, 15. makes a D^o. 23, 16. so not in the 2^d. F. r. p. o. 24, 8. were but W. 25, 15. Seb. On: Tell. 2^d. F. r. p. o. 28, 5. my doublet Sir 2^d. F.— 31, 22. dowsinesse 2^d. F. 32, 8. strage D^o. 33, 28. past in prologue 2^d. F. r. 34, 4. backe by Naples? D^o. 35, 2. ancient Moral, W. 35, 4. Thee'l take 2^d. F. 36, 4. mime D^o. 36, 14. That's verity. P.— 37, 26. but his fish 2^d. F. 38, 28. at' nostrils. 1^st. F. 39, 24. well not in the 2^d. F. r. p. o. 40, 31. made life a 2^d. F. 41, 10. with the new 2^d. F. r. 41, 12. very shallow Monster: 2^d. F.— 41, 15. 'oth Island: 1^st. F. 42, 7. Shamois T. w. Sea-malls O. 43, 13. busie least, 2^d. F. r. 43, 18. that thou art 2^d. F. r. p. t. w. 46, 9. heart so willing 2^d. F. r. p. o. 46, 15. rejoying 2^d. F. 46, 31. in thy heart. D^o. 48, 32. Ile go farther 1^st. F. t.— 49, 5. give thee the 4^th. F.— 49, 25. deck't withal. O. 50, 18. reason, &break; And reason 2^d. F. r. p. 51, 4. sometimes 2^d. F.— 51, 26. akes: 1^st. F. 51, 27. fourth-rights, D^o. 52, 1. flatterers: 2^d. F. 52, 32. such Islands; 1^st. F. 54, 10. Of which your O. 54, 29. fall D^o. 55, 12. who they D^o. 56, 10. a thread of T.— 56, 17. our-strip 2^d. F. 56, 22. But not in the 2^d. F. r. p. 58, 2. abstenious 1^st. F. 58, 12. the rich 2^d. F. r. 58, 16. tulip'd Brims, R.— 58, 18. brown groves, O. 58, 20. pale-clipt D^o. 59, 4. short-grass P.— 60, 4. and not in the 1^st. F. 60, 16. from all their 2^d. F. r. p. o. 60, 19. a wise, 2^d. F. 60, 20. Make P.— 60, 26. winding R.— 61, 19. Why, you O. 61, 24. of their vision 2^d. F. r. p. o. 62, 5. you peace. P. o. 62, 26. you Cell, 2^d. F. 63, 4. taken, are all lost, O. 64, 18. From too to 2^d. F. 64, 32. have done on't: D^o.

65, 15. that thou grinde D^o. 66, 6. fare the 66, 11. you release: R. 66, 16. runs downe 1^st. F. 66, 17. of reed: 66, 26. Passion'd P. o. 67, 12. Weak ministers O. 68, 20. entertaine 1^st. F. 70, 23. faults R.— 70, 24. of thre, 2^d. F. 70, 28. whom three 1^st. F. 71, 13. in Nalpes D^o. 71, 19. scare thinke 2^d. F. 71, 20. Their eie doe D^o. 72, 23. makind D^o. 74, 2. here are more P.— 74, 31. Ar. This is 1^st. F. 75, 5. pick't seisure 2^d. F. 75, 18. Monster Corasio. 1^st. F. 75, 29. mis-shap'd P.— 77, 8. nuptiall 1^st. F. 77, 14. starngely D^o.
4. it goes. T. w. 5, 12. It flies O. 5, 17. slipp'ry natures D^o. 6, 23. hand, 1^st. F. 6, 27. Fortunes, D^o. 7, 5. to him not in D^o. 7, 9. most needs 3^d. F.— 8, 20. chose 2^d. F. 9, 15. The Pensil'd 2^d. F. r. 10, 7. Wee'l I beare 2^d. F. 10, 26. The better, for O. 12, 12. and, not in the 1^st. F. 12, 24. do part T.— 12, 31. more ac&wblank; O. 13, 13. Comes 1^st. F. 14, 22. Pray fit, 2^d. F. 15, 18. for there meate 1^st. F. 16, 2. i' th' mird: D^o. 16, 3. equall, 2^d. F.— 16, 22. best not in the 2^d. F.— 17, 9. keepes there 1^st. F. 17, 15. made a joy ere't O.— 18, 2. blest senses 18, 7. Their wel&wblank; 2^d. F. 18, 10. amply P.— 18, 32. Sets a 2^d. F. 19, 2. lively not in the 1^st. F. 19, 5. 1. Lad. My lord, 19, 28. accept it, and 1^st. F. 20, 29. he (the last) not in the 2^d. F. r. p. 21, 1. ere I were forc'd: 2^d. F.— 21, 8. O has the D^o. 21, 13. 3. L. O, I 21, 22. to give &break; My thanks, O. 21, 28. I, defil'd Land, 1^st. F. 22, 1. more Lights, more Light. 2^d. F.— &break; 19. needs 1^st. F.

23, 8. twenty moe D^o. 23, 20. then silenc'd, then 2^d. F. 23, 22. sirrah, not in the 1^st. F. 24, 3. Who flashes P.— 24, 18. not here, till 2^d. F. 25, 30. of not in D^o. 27, 3. wife com&wblank; 2^d. F. 27, 30. merrily; 3^d. F.— mistress's T.— 28, 8. moe then's 1^st. F. 28, 29. propose. D^o. 29, 1. your D^o. 29, 13. dear not in D^o. 29, 14. here 2^d. F. &break; 15. you D^o. 29, 24. a world, 2^d. F. r. p. t. o. 30, 10. Royall Timon: 1^st. F. 31, 22. Treature D^o. 34, 26. Of nurture O.— 34, 28. or pro&wblank; P. o. 35, 7. be cannot 2^d. F. 35, 17. shew'd in. D^o. 35, 20. mislook'd W. 37, 23. into partition, O. 37, 24. have attorn'd O.— 38, 3. Owes 1^st. F. 38, 5. and all are found 2^d. F.— 38, 12. friend: 2^d. F. 38, 13. Physitians) That thriv'd 2^d. F. r. 38, 23. I not in the 1^st. F. 42, 13. if he be P.— 43, 9. pay that. D^o. 43, 27. Sempronius Ullorxa: All, 1^st. F. &break; Lucullus, add Semprovius: 2^d. F. 44, 11. Health, honour, P.— 44, 32. if not in the 2^d. F. 45, 1. Mad-slaughter 2^d. F. 46, 7. I not in the 1^st. F. 46, 11. with him: 1^st. F. 46, 27. Honour D^o. 47, 13. Tis few 2^d. F. 47, 29. ha! not in the 1^st. F. 49, 4. willingly, R.— 49, 18. the other 2^d. F.— 49, 30. here you 2^d. F. 50, 13. Sir, sir. D^o. 50, 24. your foes, O.— 50, 26. common lee of 51, 6. Washes them off, O. 51, 10. Time flyes, 2^d. F.— 51, 26. Humour R.— 52, 23. Some of 1^st. F. 53, 14. beast much kinder R.— 54, 7. likes 2^d. F. 55, 10. Nor his he D^o. 55, 29. Pastor Lords, D^o. 55, 30. him leave: 1^st. F. 56, 3. obliquy: 2^d. F. 56, 18. the heads. D^o. 56, 25. Her whom O. 57, 16. And with man's blood paint all the D^o. 58, 20. Calamites. 2^d. F. 58, 26. had trod on them. O. 59, 11. whom Jove 2^d. F. r. 59, 22. extort their O. 59, 23. who, the oracle &break; Hath doubtfully pronounc'd, D^o. 60, 5. whole a T. w. 60, 14. six mouths 2^d. F. 61, 12. the harme D^o. 61, 30. Conceptions D^o. 62, 4. thy meadows, vineyards, pl&wblank; O. thy harrow'd veins, and W. veins, R. p. t.

62, 27. that bad wel&wblank; 1^st. F. 62, 31. Where I 2^d. F. 63, 3. moss'd trees O.— 63, 14. love the 2^d. F. 63, 27. Countier D^o. 63, 29. Out-strips O. 64, 16. employments: 2^d. F.— 64, 17. upon the stucke, 2^d. F. 64, 23. the hard D^o. 65, 5. the—the D^o. 68, 19. Hymeus D^o. 69, 10. falling off of P.— 69, 26. wont much 2^d. F. of meet. T. w. 69, 29. Heps, 1^st. F. 70, 11. live together, 2^d. F. r. p. t. 70, 12. profess to T.— 70, 18. The Mounds into D^o. 70, 20. think's a 2^d. F. 71, 18. miscreefe D^o. 71, 32. steward's 72, 12. nature mild. O.— 73, 3. unmarched 2^d. F. 73, 10. the D^o. 73, 12. D^o, D^o. 74, 4. Phrinica and Timandylo 1^st. F. 74, 8. tryal of his P.— 74, 26. quiet out 2^d. F. 75, 12. black-corneted O. 75, 27. tested, 2^d. F. 76, 19. man: 2^d. F.— 77, 15. a not in the 2^d. F. r. 77, 25. ye came 2^d. F.— 77, 26. thence, 2^d. F. r. 78, 12. chanc'd 1^st. F. 78, 14. Lord not in the 2^d. F. r. 78, 19. comfort 2^d. F. r. 78, 21. Catherizing 2^d. F. 79, 7. it owne F^s. 79, 8. send F^s. render, D^o. 79, 22. Hallow'd W. 79, 24. h' approaches 2^d. F. 80, 11. it in my O. 80, 12. reverends 1^st. F. 81, 10. the frequence 2^d. F.— 81, 19. Who once 1^st. F. 82, 31. not lye a no live 2^d. F. 83, 26. cause to feare 2^d. F.— 84, 11. March on, oh noble P.— 85, 10. Defend and 1^st. F. 85, 17. remedied to your D^o. 85, 29. &lblank; bereft, Seek not my name: A Plague consume you, Catifs left: &break; Heere lye I Timon, who all living men did hate, &break; Passe by, and curse thy fill, but stay not here thy gate. 2^d. F.—

5. I was the first F^s. r. 6. wore F^s.— 4, 9. Pious, 1^st. F. 4, 14. agrinst 2^d. F. 5, 29. From whence F^s.— 6, 9. mournining 4^o. in my mourning W. 7, 7. earthy 4^o. 7, 14. true the 2^d. F. 7, 17. sonnes F^s.— 7, 31. the Brethren, F^s. r. p. behold 2^d. F.— 8, 10. Oppose me Scythia F^s. r. p. t. w. 8, 11. goe to 2^d. F. r. p. t. w. 8, 12. lookes, F^s.— 8, 16. in her Tent, T.— 8, 19. these bloody 8, 22. rightes, 4^o. 1^st. F. 9, 3. here are no stormes, D^o. 9, 14. Fortune F^s.— 9, 15. preserv'd O. 9, 26. are all alike, F^s. 10, 12. abroach 3^d. F.— 10, 21. obtain, then ask 11, 6. and Noble Trib&wblank; F^s.— 11, 9. Mar. To grat&wblank; R.— 11, 12. this sure I F^s. 11, 32. Pathan 4^o. 1^st. F. 12, 10. at your feete 12, 16. your pris&wblank; 1^st. F. 12, 18. you Hon&wblank; D^o. 12, 20. gooly 4^o. 12, 28. Can you make you 2^d. F. 13, 9. Suum cuiquam 4^o. 1^st. F. 14, 7. there—else—of not in the 4^o. 1^st. F. 14, 19. Thebe 4^o. 1^st. F. 14, 23. Empresse F^s. 16, 3. vouch'd it in D^o. 16, 11. with not in the F^s.— 16, 12. I tell F^s. 16, 24. wise not in the F^s. r. 17, 6. these sudden dumps F^s. r. 17, 13. Yes, and &c. This line not in 4^o. p. o. 19, 2. ingratude 4^o. 19, 29. All. We doe D^o. 20, 10. I sware, F^s. 20, 16. the Heart 2^d. F. 20, 29. about pale 1^st. F. 21, 3. her will O.— 21, 5. the heart, 2^d. F. 21, 15. Semerimis, 4^o. 1^st. F. 21, 20. wants wit, D^o. 21, 21. intru'd F^s. 21, 30. Passion R.— 22, 8. how not in the 2^d. F. r. p. 22, 23. durst 4^o. 22, 26. pretty F^s. w. 22, 28. to set upon F^s. r. 23, 2. discord F^s. &break; 15. makes 4^o.

23, 23. yet not in the 4^o. 1^st. F. 23, 24. Saturnine 4^o. Saturnius 1^st. F. 24, 5. That &c. This line not in the F^s. r. p. 25, 6. Sii fas 1^st. F. Si fas 2^d. F. r. streames, F^s. r. 26, 2. broad not in D^o. 26, 8. Pomontary 1^st. F. 26, 10. Makes away, 2^d. F. r. runnes 4^o. 1^st. F. likes 1^st. F. 27, 3. if not in the 2^d. F. 27, 4. yelping F^s. r. 28, 2. dread P. 28, 9. Whom F^s.— 28, 26. swarty Cymerion, 4^o. swart 28, 32. with him, a 29, 10. I have 4^o. 1^st. F. 29, 21. shew'd F^s.— 29, 30. dismall Ewe, 4^o. 30, 2. ease did 2^d. F. 30, 18. hope now braves 2^d. F.— 30, 23. honny we desire, 4^o. 1^st. F. 30, 28. woman F^s. 31, 22. now not in the 4^o. 1^st. F. 31, 31. Bussianus dide. 4^o. 31, 32. Tam. not in the 2^d. F. 32, 12. Confusion all— 2^d. F. r. 32, 19. Adronicie 4^o. 33, 13. unhollow and D^o. 33, 14. uncouch 2^d. F. 33, 26. to the slau&wblank; F^s. r. 34, 1. of the pit: D^o. 34, 5. the faint, 2^d. F. 34, 7. as Ocitus 4^o. 1^st. F. 34, 14. loose't again, 34, 29. left them all 4^o. 36, 30. can scrowle. 4^o. p.— 37, 2. my case, P.— 37, 17. As have thy T.— 37, 20. rosy Lips, R.— 38, 5. withal; not in the 4^o. 38, 14. and fall'n asleep O. 38, 21. morning 2^d. F. 39, 7. soules is not 4^o. 1^st. F. 39, 10. For these, Tribunes, D^o. 39, 14. stench 2^d. F. 39, 29. you not in the 1^st. F. 40, 3. oh if they did heare F^s. r. 40, 4. All bootless unto them, not in the F^s.— they would not pity me. not in the 4^o. 40, 14. as soft F^s. r. p. o. 40, 23. must pray, 1^st. F. 41, 4. my not in the 4^o. 1^st. F. 41, 8. the light 2^d. F. 42, 1. Who makes the 2^d. F. r. 42, 27. signes F^s.— 43, 8. miseries F^s. r. 44, 26. shew F^s.— 44, 29. use it. 45, 7. you strife, 1^st. F. 45, 8. me hand, D^o. 45, 12. for for D^o. 45, 18. thoughts 4^o. 1^st. F. 45, 25. what would thou 4^o. (f. wou't) 46, 9. doe flow: 4^o. 1^st. F. 47, 10. hands, F^s. 47, 11. sonnes D^o. 48, 4. And Lavinia 4^o. 1^st. F. these Armes, 4^o. 48, 5. thy teeth: 4^o.— 48, 20. requit F^s.

48, 21. Saturnine 4^o. 1^st. F. 48, 22. likes 1^st. F. 48, 26. SCENE II. This scene is not in the the 4^o. 49, 2. an I 2^d. F. 49, 26. Theam, no talk R.— 50, 3. sorrows 2^d. F.— 50, 4. complaint, O, I D^o. 50, 6. Hemits 2^d. F. 50, 17. thy not in the 1^st. F. 50, 20. are not in D^o. 50, 25. father, and mother? F^s.— 50, 31. Pardon me, 'twas 51, 4. my selfes 1^st. F. 51, 13. substances. And: Come, 2^d. F.— 51, 29. thy Aunt. F^s.— 52, 1. her not in D^o. 52, 5. red—red 4^o. 52, 29. deed. &break; What Booke? &break; Why F^s. r. p. o. 53, 1. them to revenge. F^s. r. 53, 14. Livinia, 2^d. F. 53, 26. slonke 4^o. ersts, 1^st. F. 54, 1. when not in the 4^o. 1^st. F. 54, 4. forc'st F^s. that shift: 1^st. F. 54, 11. writs? 1^st. F 54, 31. be ware 55, 2. palyeth 1^st. F. 55, 21. bosome 2^d. F. 56, 15. Boy. not in the 1^st. F. That you &c. This line not in the F^s. r. 56, 16. villanies 1^st. F. 56, 29. egit F^s. arcus. 4^o. 1^st. F. 57, 18. out lust 2^d. F. 57, 20. Heere lacks but your mother for to say 4^o. r. lack's but you mo&wblank; F^s. to not in the 2^d. F. 58, 10. brought to bed R.— 58, 20. Aron. Zounds ye whore 4^o. 58, 21. Sweet blows, D^o. 58, 26. Villain, &c. This line not in the F^s. r. p. o. w. 59, 16. y' unsanguine O. 59, 21. to write, 2^d. F. 60, 2. ignominie. F^s.— 60, 23. all not in the 4^o. 1^st. F. 60, 26. so at Aaron F^s. 60, 29. And none else F^s. r. 60, 31. the the 1^st. F. 61, 4. gilt 4^o. 62, 1. put us T.— 62, 13. now not in the 4^o. 1^st. F. 62, 19. haply F^s.— 63, 6. Lords 4^o. 1^st. F. 63, 20. As that 63, 23. Acaron 4^o. 1^st. F. 63, 27. backe F^s. 64, 28. Clow. Who? the R.— 64, 31. Tit. Tut, what D^o. 65, 21. a not in the 4^o. 1^st. F. 66, 12. Am Em&wblank; 2^d. F. 66, 14. of equall D^o. 66, 27. the state, &break; And blazing 66, 28. unjustice 4^o. 66, 31. extasy 67, 2. wealth 67, 7. Titus' rage, 67, 13. Hie witted 4^o. 67, 15. blood ont: 2^d. F. r. p. 67, 27. be Lady 4^o. 68, 10. my lord;