Note return to page 1 [1] (1) &lblank; would almost damn those Ears,] Several Old Editions have it, dam, damme, and daunt. Some more correct Copies, damn. The Author's Meaning is this; That some People are thought wise, whilst they keep Silence; who, when they open their mouths, are such stupid Praters, that their Hearers cannot help calling them Fools, and so incur the Judgment denounc'd in the Gospel. The Allusion is to St. Matthew, Ch. v. ver. 22. And whosoever shall say to his Brother, Raca, shall be in danger of the Council: but whosoever shall say, thou Fool, shall be in danger of Hell-fire. I had regulated and explain'd this Passage in my Shakespeare restor'd; as also shewn, how frequent it is with our Author to allude to Texts and History of Scripture. Mr. Pope, in his last Edition, has vouchsafed to borrow the Correction and Explanation. I ought to take notice, the ingenious Dr. Thirlby concurr'd in our Author's Meaning, without knowing what I had done on the Passage.

Note return to page 2 [2] (2) &lblank; sometimes from her Eyes.] So all the Editions; but it certainly ought to be, sometime, (which differs much more in Signification, than seems at first View:) i. e. formerly, some time ago, at a certain time: and it appears by the subsequent Scene, that Bassanio was at Belmont with the Marquiss de Mountferrat, and saw Portia in her Father's life-time. And our Author, in several other Places uses the Word, in such Acceptation. King Richard II. Good sometime Queen, prepare thee hence for France. And again, in the same Play; With much ado at length have gotten Leave To look upon my sometime Master's Face. And in Hamlet; Therefore our sometime Sister, now our Queen;

Note return to page 3 [3] (3) I can easier teach twenty] This Reflection of Portia has very much the Cast of one in Philemon, the Greek Comic Poet, and Contemporary with Menander. &GRAsa;&grl;&grl;&grwi; &grp;&gro;&grn;&gro;&gruc;&grn;&grt;&gri; &grrr;&graa;&grd;&gri;&gro;&grn; &grp;&gra;&grr;&gra;&gri;&grn;&grea;&grs;&gra;&gri; &GREsa;&grs;&grt;&gri;&grn;, &grp;&gro;&gri;&grhc;&grs;&gra;&gri; &grd;&grap; &gra;&grus;&grt;&grog;&grn; &gro;&grus;&grx;&grig; &grrr;&graia;&grd;&gri;&gro;&grn;. It is easy to advise Another under a Difficulty; not so easy to follow what One is able to advise. I dare not pretend, therefore, that our Author imitated this Sentiment; for in moral Axioms, particularly, allowing an Equality of Genius, Writers of all Times and Countries may happen to strike out the same Thought.

Note return to page 4 [4] (4) Ay, that's a Colt, indeed, for he doth nothing but talk of his horse;] Tho' all the Editions agree in this Reading, I can perceive neither Humour, nor Reasoning, in it: How does talking of Horses, or knowing how to shoe them, make a Man e'er the more a Colt? Or, if a Smith and a Lady of Figure were to have an Affair together, would a Colt be the Issue of their Caresses? This seems to me to be Portia's Meaning. What do you tell me of the Neapolitan Prince? he is such a stupid Dunce, that instead of saying fine things to me, he does Nothing but talk of his Horses. The Word, Dolt, which I have substituted, fully answers this Idea; and signifies one of the most stupid and blockish of the Vulgar: and in this Acceptation it is used by our Author, particularly, in the following Passage of Othello. &lblank; Oh, Gull! oh, Dolt! As ignorant as Dirt!

Note return to page 5 [5] (5) &lblank; of the Scottish Lord, his Neighbour?] Thus the old 4to's, and thus the Poet certainly wrote. Mr. Pope takes notice of a various Reading; (viz. What think you of the other Lord—which is in the first Folio;) but has not accounted for the Reason of it, which was This. Our Author exhibited this Play in the Reign of Queen Elizabeth, when there was no Occasion for any Restraint in satirizing the Scotch. But upon the Accession of King James the First, the Union taking Place, and the Court swarming with People of that Nation, the Players, thro' a Fear of giving Disgust, thought fit to make this Change.

Note return to page 6 [6] (6) I think, the Frenchman became his Surety, and seal'd under for another.] This was a severe Sarcasm on the French Nation; and, no Doubt, a very pleasing one to the Audiences, when this Play was first brought on. To make the Frenchman, jointly with the Scot, take a Box on the Ear at the Englishman's hands, is very humourously, and satirically, alluding to the constant Assistance the French always used to give the Scots in their Quarrels with the English, both in and before our Author's Time: and in which Alliance, they generally came by the worst of it. Mr. Warburton.

Note return to page 7 [7] (7) A breed of barren Metal] Meaning, Mony at Usury, Mony that breeds more, as Mr. Pope explains it. Consonant to this Phrase, the Latines explain'd Interest thus; Fœnus, fœtum accepti: and the Greeks call'd it &grt;&groa;&grk;&gro;&grst;: both which Expressions take in our Poet's Idea of a Breed. See Non. Marcellus in v. fœnus, & mutuum: and Gronovius de Sestertiis. As for the Contradiction betwixt Breed, and barren, it is a poetical Beauty in which Claudian, among the Classics, particularly abounds. Besides, in this Epithet, perhaps, (as Mr. Warburton ingeniously hinted to me,) our Author would shew us the Reason on which the Advocates against Usury went; and which is the only One they use: That Metal is a barren thing; and cannot, like Corn and Cattle, multiply itself: and therefore it is unjust, that Interest should be taken for it: for the most superstitious in this Regard allow the taking Interest for Fruits, Corn, Cattle, &c.

Note return to page 8 [8] (8) So is Alcides beaten by his Rage.] Tho' the whole Set of Editions concur in this Reading, and it pass'd wholly unsuspected by the late Learned Editor; I am very well assur'd, and, I dare say, the Readers will be so too presently, that it is corrupt at Bottom. Let us look into the Poet's Drift, and the History of the Persons mention'd in the Context. If Hercules (says he) and Lichas were to play at Dice for the Decision of their Superiority, Lichas, the weaker Man, might have the better Cast of the Two. But how then is Alcides beaten by his rage? To admit this, we must suppose a Gap in the Poet; and that some Lines are lost, in which Hercules, in his Passion for losing the Hand, had thrown the Box and Dice away, and knock'd his own head against the Wall for meer Madness. Thus, indeed, might he be said, in some Sense, to be beaten by his Rage. But Shakespeare had no such stuff in his head. He means no more, than, if Lichas had the better Throw, so might Hercules himself be beaten by Lichas. And who was He, but a poor unfortunate Servant of Hercules, that unknowingly brought his Master the envenom'd Shirt, dipt in the Blood of the Centaur Nessus, and was thrown headlong into the Sea for his Pains? This one Circumstance of Lichas's Quality known sufficiently ascertains the Emendation I have substituted, of page instead of rage. It is scarce requisite to hint here, it is a Point so well known, that Page has been always us'd in English to signify any Boy-Servant: as well as what latter Times have appropriated it to, a Lady's Trainbearer. And, consonant to our extended Usage of the Word, the French call a Shipboy, un Page du Navire. So much in Explanation of this new adopted Reading. The very excellent Lord Lansdowne, in his Alteration of this Play, tho' he might not stand to make the Correction upon the Poet, seems at least to have understood the Passage exactly as I do: and tho he changes the Verse, retains the Sense of it in this manner: So were a Giant worsted by a Dwarf! Tho I had made the Emendation, before I thought to look into his Lordship's Performance; it is no small satisfaction to me, that I have the Authority of such a Genius to back my Conjecture. Mr. Pope, in his last Edition, has thought fit to embrace my Reading.

Note return to page 9 [9] (9) Turn up, on your right hand &lblank;] This arch and perplex'd Direction, on purpose to puzzle the Enquirer, seems to be copied from Syrus to Demea, in the Brothers of Terence: Act 4. Sc. 2. &lblank; ubi eas præterieris, Ad sinistram hac rectâ plateâ: ubi ad Dianæ veneris, Ito ad dextram priùs, quàm ad portam venias: &c. The Reader, upon a Collation of the whole Passage, will find, how infinitely more concise and humorous the Jest is couch'd in our Poet.

Note return to page 10 [10] (10) than Dobbin my Thill-horse] Some of the Editions have it Phill, others Fill-horse; Both, erroneously. It must be thill-horse; i. e. the Horse, which draws in the Shafts, or Thill, of the Carriage.

Note return to page 11 [11] (11) Well, if any man in Italy have &c] This stubborn Piece of Nonsense seems to have taken its Rise from this Accident. In transcribing the Play for the Press, there was certainly a Line lost; so that the Passage for the future should be printed thus: Well, if any Man in Italy have a fairer Table, which doth offer to swear upon a Book, I shall have good Fortune. 'Tis impossible to find out the lost Line, but the lost Sense is easy enough; as thus. Well, if any Man in Italy have a fairer Table, which doth [promise good Luck, I am mistaken. I durst almost] offer to swear upon a Book, I shall have good Fortune. Mr. Warburton.

Note return to page 12 [12] (12) O, ten times faster Venus' Pidgeons fly] This is a very odd Image, of Venus's Pidgeons flying to seal the Bonds of Love. The sense is obvious, and We know the Dignity due to Venus's Pidgeons. There was certainly a Joke intended here, which the Ignorance, or Boldness, of the first Transcribers have murder'd: I doubt not, but Shakespeare wrote the Line thus; O, ten times faster Venus' Widgeons fly To seal &c. For Widgeon is not only the silly Bird so call'd, but signifies likewise, metaphorically, a silly Fellow, as Goose, or Gudgeon, does now. The Joke consists in the Ambiguity of the Signification; and to call the Votaries of Love Venus's Widgeons has, I think, something very pretty. But the Transcribers finding Widgeon in the Text, and knowing Nothing of its figurative Signification, substituted Pidgeon as a more usual, (or perhaps, better sounding) Word. Butler has made the very same Joke upon the Presbyterians. Canto 1 st. pt. 1. V. 231. Th' Apostles of this fierce Religion, Like Mahomet's were Ass, and Widgeon. The Monks, in their fabulous Account of Mahomet, said, he taught a Pidgeon to pick Peas out of his Ear for the Ends of his Imposture. Mr. Warburton.

Note return to page 13 [13] 13 &lblank; how much honour Pick'd from the Chaff and Ruin of the Times, To be new varnish'd.] Mr. Warburton very justly observ'd to me upon the Confusion and Disagreement of the Metaphors here; and is of Opinion, that Shakespeare might have wrote; To be new vanned. &lblank; i. e. winnow'd, purged: from the French Word, vanner; which is deriv'd from the Latin, Vannus, ventilabrum, the Fann used for winnowing the Chaff from the Corn. This Alteration, as he observes, restores the Metaphor to its Integrity: and our Poet frequently uses the same Thought. So, in the 2d Part of Henry IV. We shall be winnow'd with so rough a Wind, That ev'n our Corn shall seem as light as Chaff. And, again, in K. Henry V. Such, and so finely boulted did'st thou seem, for boulted signifies sifted, refin'd. The Correction is truly ingenious, and probable: But as Shakespeare is so loose and licentious in the blending of different Metaphors, I have not ventur'd to disturb the Text.

Note return to page 14 [14] (14) Bassanio Lord, love, if] Mr. Pope, and all the preceding Editors have follow'd this pointing, as imagining, I suppose, that Bassanio lord— means, Lord Bassanio; but Lord must be coupled to Love: as if she had said, “Imperial Love, if it be thy Will, let it be Bassanio whom this “Messenger fore-runs.

Note return to page 15 [15] (15) &lblank; lest the Devil cross my Prayer.] But the Prayer was Salanio's. The other only, as Clerk, says Amen to it. We must therefore read—thy Prayer. Mr. Warburton.

Note return to page 16 [16] (16) &lblank; is but the gilded Shore] I have restor'd, on the Authority of the old 4to's and Folio Impressions, guiled, i. e. guily, furnish'd for Deceit, made to betray. The Poet uses the participle passive in an active Signification; as, vice versâ, it will be found, upon Observation, that he employs the active participle passively. To give a single Instance from K. Lear; Who, by the Art of known and feeling Sorrows; Am pregnant to good Pity. For feeling Sorrows here means Sorrows that make themselves felt.

Note return to page 17 [17] (17) Thy Paleness moves me more than Eloquence;] Bassanio is displeas'd at the golden Casket for its Gawdiness, and the Silver one for its Paleness; but, What! is he charm'd with the Leaden one for having the very same Quality that displeas'd him in the Silver? The Poet never intended such an absurd Reasoning. He certainly wrote, Thy Plainness moves me more than Eloquence; This characterizes the Lead from the Silver, which Paleness does not, they being both pale. Besides, there is a Beauty in the Antithesis between Plainness and Eloquence; between Paleness and Eloquence, none. Mr. Warburton.

Note return to page 18 [18] (18) You lov'd; I lov'd for Intermission.] Thus this Passage has been nonsensically pointed thro' all the Editions. If loving for Intermission can be expounded into any Sense, I confess, I as yet am ignorant, and shall be glad to be instructed in it. But till then I must beg Leave to think, the Sentence ought to be thus regulated; You lov'd, I lov'd: &lblank;For Intermission No more pertains to me, my Lord, than You. i. e. standing idle; a Pause, or Discontinuance of Action. And such is the Signification of Intermissio and Intermissus amongst the Latines.— Neque alia ulla fuit causa intermissionis Epistolarum, nisi quod ubi esses planè nesciebam: says Cicero to Trebatius. “Nor was there any other Reason for my discontinuing to write, but that I was absolutely ignorant where you were”. And so Pliny, of the Nightingale: Lusciniis diebus ac noctibus quindecim garrulus fine intermissu Cantus. “Nightingales hold their Song for fifteen days and nights together, without Intermission”. Our Author uses this Word again in his Lear: Deliver'd Letters spight of Intermission, Which presently they read. i. e. in spight of any Pause, or Delay. Sometimes, without Intermission, is, without Cessation: as in the Greek, &gras;&grd;&gri;&gra;&grl;&grea;&gri;&grp;&grt;&grw;&grst;, &gras;&grp;&graa;&gru;&grs;&grt;&grw;&grst;. So in As you like it; And I did laugh, sans Intermission, An hour by his Dial.

Note return to page 19 [19] (19) Nerissa, cheer yond Stranger.] The Poet has shewn a singular Art here, in his Conduct with Relation to Jessica. As the Audience were already appriz'd of her Story, the opening it here to Portia would have been a superfluous Repetition. Nor could it be done properly, while a Letter of such Haste and Consequence was to be deliver'd: and on which the main Action of the Play depended. Jessica is therefore, artfully, complimented in dumb Shew; and no Speech made to her, because the Scene is drawn out to a great Length by more important Business.

Note return to page 20 [20] (20) The Duke cannot deny] As this Sentence seems a little perplex'd and obscure, it may not be amiss to give it a short Explanation. “The Duke cannot deny the Course of Law, (says Anthonio;) for if its Course be denied, the Privilege that Strangers have, being violated, will cry out against the Injustice”. This is very much to the Purpose; for he does not say, that the Justice of the State could indeed be impeach'd by stopping the Course of Law in his Case: For, indeed, it was the utmost Justice to stop it here: But that Strangers would accuse it of Injustice. This shews the true Temper of the State of Venice, and of all other trading States; which will always more fear an Inconvenience than an Injustice. The Jealousy, that foreign Merchants may entertain of Injustice, being always more carefully guarded against, than Injustice itself. Mr. Warburton.

Note return to page 21 [21] (21) This comes too near the praising of my self; Therefore no more of it: here other things, Lorenzo, I commit &c.] Thus has this Passage been writ and pointed, but absurdly, thro' all the Editions. Portia finding the Reflections she had made came too near Self-praise, begins to chide herself for it: says, She'll say no more of that Sort; but call a new Subject. The Regulation I have made in the Text was likewise prescrib'd by Dr. Thirlby.

Note return to page 22 [22] (22) In speed to Mantua;] Thus all the old Copies; and thus all the Modern Editors implicitly after them. But 'tis evident to any diligent Reader, that We must restore, as I have done, In speed to Padua: For it was there, and not at Mantua, Bellario liv'd. So afterwards;— A Messenger, with Letters from the Doctor, New come from Padua— And again, Came you from Padua, from Bellario?—And again, It comes from Padua, from Bellario.—Besides, Padua, not Mantua, is the Place of Education for the Civil Law in Italy.

Note return to page 23 [23] (23) Thus when you shun Scylla, your Father,] By the Allusion which Launcelot makes here, 'tis evident, Shakespeare was no Stranger to this Hexameter, nor the Application of it; Incidit in Scyllam cupiens vitare Charybdim. Erasmus, in his Adagies, quotes this Verse as one very much in Vogue with the Latines; but says, he does not remember its Author. I presume, it might have been founded upon the Greek proverbial Sentence, likewise quoted by him, &grT;&grhg;&grn; &grX;&graa;&grr;&gru;&grb;&grd;&gri;&grn; &gres;&grk;&grf;&gru;&grg;&grwg;&grn; &grt;&grhc; &grS;&grk;&grua;&grl;&grl;&grhi; &grp;&gre;&grr;&gri;&grea;&grp;&gre;&grs;&gro;&grn;. This is one of those Iambics, he tells us, which were call'd, Dimetri &gras;&grk;&grea;&grf;&gra;&grl;&gro;&gri;. For my own part, (throwing out this cramp Definition) I think it might have been a plain Iambic, as most of the proverbial Gnomes were, and only dismounted from its Numbers by the unnecessary Insertion of the Articles. I would read it: &grS;&grk;&grua;&grl;&grl;&grhi; &grp;&gre;&grr;&grea;&grp;&gre;&grs;&gro;&grn;, &grX;&graa;&grr;&gru;&grb;&grd;&gri;&grn; &gres;&grk;&grf;&gru;&grg;&grwg;&grn;.

Note return to page 24 [24] (24) Cannot contain their Urine for Affection. Masterless passion sways it to the Mood Of what it likes, or loaths.] Masterless Passion was first Mr. Rowe's Reading, (on what Authority, I am at a Loss to know;) which Mr. Pope has since copied. And tho' I have not disturb'd the Text, yet, I must observe, I don't know what Word there is to which this Relative [it, in the 2d Line] is to be referr'd. The ingenious Dr. Thirlby, therefore, would thus adjust the Passage. Cannot contain their Urine; for Affection, *Master of Passion, sways it &c * Or, Mistress. And then it is govern'd of Passion: and the 2 old Quarto's and Folio's read.—Masters of Passion, &c. It may be objected, that Affection and Passion are Synonomous Terms, and mean the same Thing. I agree, they do at this time. But I observe, the Writers of our Author's Age made a sort of Distinction: considering the One as the Cause, the Other as the Effect. And then, in this place, Affection will stand for that Sympathy or Antipathy of Soul, by which we are provok'd to shew a Liking or Disgust in the Working of our Passions. B. Jonson, in his Sejanus, seems to apply the Terms thus: &lblank; He hath studied Affection's Passions, knows their Springs, their Ends, Which way, and whither they will work. So much, in support of Dr. Thirlby's Regulation of the Passage. My ingenious Friend Mr. Warburton is for pointing, and writing it, as in the Old Editions: but for giving it a different Turn in the Poet's Drift and Meaning. I come now to his Reading and Opinion. Cannot contain their Urine for Affection. Masters of Passion sway it to the Mood Of what it likes, or loaths. “Observe, he is here only speaking of the different Power of Sounds, and the Influence they have upon the humane Mind: and then concludes, the Masters of Passion (for so he finely calls Musicians) sway the Passions, or Affections, as they please: Our Poet then having, no Doubt, in his Mind the great Effects that Timotheus, and other ancient Musicians, are said to have wrought by the Power of Musick. This puts me in mind of a Passage of Collier, in his Essay on Musick; who supposes it possible by a right chosen Composition (not, Concord) of Sounds to inspire Affright, Terror, Cowardise, and Consternation; in the same Manner that, now, Chearfulness, and Courage, is assisted by contrary Compositions”. Thus far Mr. Warburton. I shall submit the Passage, for the present, to the Opinion and Determination of the Publick; upon which, I may hereafter venture with more safety to ascertain it.

Note return to page 25 [25] (25) From both: my Lord Bellario greets your Grace.] Thus the two old Folio's, and Mr. Pope in his 4to, had inaccurately pointed this Passage, by which a Doctor of Laws was at once rais'd to the Dignity of the Peerage. I set it right in my Shakespeare restor'd, as Mr. Pope has since done from thence in his last Edition.

Note return to page 26 [26] (26) Not on thy Soale, but on thy Soul, harsh Jew,] I was obliged, from the Authority of the old Folio's, to restore this Conceit, and Jingle upon two Words alike in sound, but differing in Sense. Gratiano thus rates the Jew; “Tho' thou thinkest, that thou art whetting thy Knife on the Soale of thy Shoe, yet it is upon thy Soul, thy immortal Part, that thou do'st it, thou inexorable Man!” There is no Room to doubt, but This was our Author's Antithesis; as it is so usual with him to play on Words in this manner: and That from the Mouth of his most serious Characters. So in Romeo and Juliet; &lblank; You have dancing Shoes, With nimble Soales; I have a Soul of Lead, That stakes me to the Ground; I cannot move. And again, immediately after, I am too sore enpierced with his Shaft, To soare with his light Feathers. So in King John: &lblank; O, lawful let it be, That I have room with Rome to curse awhile! And, in Julius Cæsar; Now is it Rome, indeed, and room enough, When there is in it but one only man. But this sort of Jingle is too perpetual with our Author to need any farther Instances.

Note return to page 27 [27] (27) To careless Ruine.] This, I am sure, is a signal Instance of Mr. Pope's Carelessness, for Both the Old 4to's have it cureless. The Players in their Edition, for some particular Whim, chang'd the Word to endless; which Mr. Rowe has copied, because, I presume, he had never seen the old Quarto's. Our Author has used this Epithet, cureless, again in his Poem, call'd, Tarquin and Lucrece. St. III. O, hatefull, vaporous and foggy Night! Since thou art guilty of my cureless Crime.

Note return to page 28 [28] (28) That Malice bears down truth.] I propos'd, in my Shakespeare restor'd, to read ruth here; i. e. Compassion, Mercy. But, upon more mature Advice, I believe, the Text needs no Alteration. Truth may mean here, Reason; the reasonable Offers of Accommodation, which we have made.

Note return to page 29 [29] (29) So please my Lord the Duke,] The Terms, which Antonio prescribes to be comply'd with by the Jew, have been reckon'd intricate and corrupt; and a different Regulation has been advis'd: But, if I am not mistaken, they are to be thus understood. The Jew had forfeited his whole Substance; one Moiety thereof to go to the State, and the other to the Defendant. Antonio proposes, that the State should be content with fining him only that Moiety, which was confiscated to them; that, as to the Other, which Antonio equally might claim to himself; he only desires to hold the Benefit, paying Interest for it to the Jew during his Life: and, upon the Jew's Demise, to have it immediately vested in his Son and Daughter. Nor does Antonio propose any Thing mean and ungenerous in this; he quits that Right and Property, which the Law gave him, in the Jew's Substance; and (with Regard to his own great Losses,) is content to stand only as a Borrower of it, upon the general Foot of paying Interest: Nor are the Son and Daughter robb'd in This; since, setting aside Antonio's Claim by the Jew's Forfeiture, their Pretensions could not take place, till the Jew's Death: and He takes care, their reversionary Right in it should be secur'd by the Jew's recording a Deed of Gift to that Purpose.

Note return to page 30 [30] (30) &lblank; thou should'st have had ten more,] i. e. a Jury of Twelve Men, to condemn thee to be hang'd. So, in Measure for Measure, &lblank; I not deny, The Jury passing on the Pris'ner's Life, May in the sworn twelve have a Thief or two That Justice seizes on. The Scenes of these two Plays are respectively laid in Venice and Viena; and yet 'tis observable, in Both the Poet alludes to the Custom of sentencing by Juries, as in England. This is not to be imputed to him as Ignorance: The Licence of the Stage has allow'd it, not only at home; but likewise the Tragic and Comic Poets of Antiquity indulg'd themselves in transplanting their own Customs to other Nations. Æschylus, for Instance, in his Choephoræ, makes Electra, who is in Argos, talk of the Customs us'd in Purifications, and prescrib'd by Law, as the Scholiast observes, at Athens. &grT;&gro;&gruc;&grt;&gro; &grp;&grr;&grog;&grst; &grt;&grog; &grp;&gra;&grr;&grap; )&gra;&grq;&grh;&grn;&gra;&gria;&gro;&gri;&grst; &gresa;&grq;&gro;&grst;&grcolon; &grp;&grr;&grog;&grst; &grt;&grog;&grn; &grA;&grq;&grha;&grn;&grh;&grs;&gri; &grn;&groa;&grm;&gro;&grn;. Sophocles, in his Laocoon, the Scenary of which is laid in Troy, talks of erecting Altars, and burning Incense before their Doors, as was practis'd on joyful Occasions at Athens: therein transplanting the Athenian Manners, as Harpocration has noted, to Troy. &grM;&gre;&grt;&graa;&grg;&grw;&grn; &grt;&graa;&grx;&grw;&grn; &grt;&grag; &grA;&grap;&grq;&grh;&grn;&gra;&gria;&grw;&grn; &grhsa;&grq;&grh; &gre;&grid;&grst; &grT;&grr;&gro;&gria;&grai;&grn;. And so Aristophanes, in his Frogs, when the Scene is in the Infernal Regions, makes Æacus talk of an Edict pass'd in Hell for granting Artists a Subsistence out of the Prytaneum. In This, says the Scholiast, a Custom is transferr'd to the Lower Regions, which was establish'd in Athens. &grT;&gra;&gruc;&grt;&gra; &grm;&gre;&grt;&gra;&grf;&grea;&grr;&gre;&gri; &grk;&gra;&grt;&grag; &grt;&grag; &gres;&grn; &grA;&grap;&grt;&grt;&gri;&grk;&grhc; &gres;&grq;&grwc;&grn;, &gre;&gris;&grst; &grt;&grag; &grk;&gra;&grq;&grap; &grara;&grd;&gro;&gru;. A Number of Instances more, of this sort, might be amass'd from the antient Stage-writers.

Note return to page 31 [31] (31) Such Harmony is in immortal Souls;] But the Harmony here described is That of the Spheres, so much celebrated by the Antients. He says, the smallest Orb sings like an Angel; and then subjoins, Such Harmony is in immortal Souls: But the Harmony of Angels is not here meant, but of the Orbs. Nor are we to think, that here the Poet alludes to the Notion, that each Orb has its Intelligence or Angel to direct it; for then with no Propriety could he say the Orb sung like an Angel: he should rather have said, the Angel in the Orb sung. We must therefore correct the Line thus; Such Harmony is in immortal Sounds: i. e. in the Musick of the Spheres. Mr. Warburton. Macrobius, I remember, accounts for our not hearing that Musick, which is produc'd by the constant Volubility of the Heavens, from the Organs in the human Ear not being capable, thro' their Straitness, of admitting so vehement a Sound. Musician perpetuâ cœli volubilitate nascentem ideò claro non sentimus auditu, quia major Sonus est quàm ut humanarum aurium recipiatur angustiis.

Note return to page 32 [32] (32) &lblank; my Body for his Wealth;] I have ventur'd, against the Authority of the Copies, to substitute Weal here; i. e. for his Welfare, Benefit. Wealth has a more confin'd Signification. Tho' I must own, that Weal and Wealth in our Author's Time might be in some measure synonomous; as they are now in the Words, Common-weal, and Common-wealth.

Note return to page 33 [1] (1) When I was to think no harm all night,] i. e. When I was used to sleep all night long, without once waking. The Latines have a proverbial Expression very nigh to the Sense of our Author's Thought here: Qui benè dormit, nihil mali cogitat.

Note return to page 34 [2] (2) When I to fast expresly am forbid.] This is the Reading of all the Copies in general; but I would fain ask our accurate Editors, if Biron studied where to get a good Dinner, at a time when he was forbid to fast, how was This studying to know what he was forbid to know? Common Sense, and the whole Tenour of the Context require us to read, either as I have restor'd; or, to make a Change in the last Word of the Verse, which will bring us to the same Meaning; When I to fast expresly am fore-bid; i. e. when I am enjoin'd beforehand to fast.

Note return to page 35 [3] (3) Why should I joy in an abortive Birth? At Christmas I no more desire a Rose, Than wish a Snow in May's newfangled Shows: But like of each Thing, that in Season grows] As the greatest part of this Scene (both what precedes, and follows;) is strictly in Rhymes, either successive, alternate, or triple; I am perswaded, the Copyists have made a slip here. For by making a Triplet of the three last Lines quoted, Birth in the Close of the first Line is quite destitute of any Rhyme to it. Besides, what a displeasing Identity of Sound recurs in the Middle and Close of this Verse? Than wish a Snow in May's newfangled Shows: Again; newfangled Shows seems to have very little Propriety. The Flowers are not newfangled; but the Earth is newfangled by the Profusion and Variety of the Flowers, that spring on its Bosom in May. I have therefore ventur'd to substitute, Earth, in the close of the 3d Line, which restores the alternate Measure. It was very easy for a negligent Transcriber to be deceiv'd by the Rhyme immediately preceding; so, mistake the concluding Word in the sequent Line, and corrupt it into One that would chime with the Other.

Note return to page 36 [4] (4) A dangerous Law against Gentility.] I have ventur'd to prefix the Name of Biron to this Line, it being evident, for two Reasons, that it, by some Accident or other, slipt out of the printed Books. In the first place, Longaville confesses, he had devis'd the Penalty: and why he should immediately arraign it as a dangerous Law, seems to be very inconsistent. In the next place, it is much more natural for Biron to make this Reflexion, who is caviling at every thing; and then for him to pursue his reading over the remaining Articles.—As to the Word Gentility, here, it does not signify that Rank of People call'd, Gentry; but what the French express by, gentilesses, i. e, elegantia, urbanitas. And the the Meaning is this. Such a Law, for banishing Women from the Court, is dangerous, or injurious, to Politeness, Urbanity, and the more refin'd Pleasures of Life. For Men without Women would turn brutal, and savage, in their Natures and Behaviour.

Note return to page 37 [5] (5) Dull. which is the Duke's own Person?] The King of Navarre is in several Passages, thro' all the Copies, call'd the Duke: but as this must have sprung rather from the Inadvertence of the Editors, than a Forgetfulness in the Poet, I have every where, to avoid Confusion, restor'd King to the Text.

Note return to page 38 [6] (6) A high hope for a low heaven;] A low heaven, sure, is a very intricate Matter to conceive. But our accurate Editors seem to observe the Rule of Horace, whenever a moot Point staggers them, dignus vindice nodus; and where they cannot overcome a Difficulty, they bring in Heaven to untie the Knot. As God grant us Patience immediately preceded, they thought, Heaven of Consequence must follow. But, I dare warrant, I have retriev'd the Poet's true Reading; and the Meaning is this. “Tho' you hope for high Words, and should have “them, it will be but a low Acquisition at best.” This our Poet calls a low Having: and it is a Substantive, which he uses in several other Passages. Merry Wives of Windsor. Not by my Consent, I promise You: the Gentleman is of no Having, he kept Company with the wild-Prince and Poinz. K. Henry VIII. &lblank; Our Content Is our best Having. And again afterwards; But par'd my present Havings, to bestow My Bounties upon You. Timon of Athens. The greatest of your Having lacks a half To pay your present debt. And in many other places. So, amongst the older Romans, they made a Substantive of Habentia, in the like Signification. Nonius Marcellus furnishes an Authority from Claudius Quadrigarius his Annals. Verebar enìm ne Animos corum inflaret habentia. For I was afraid lest their Havings (i. e. their Riches, large Circumstances) should elate their Minds. St. Austin likewise, in the lower Age of Latinity, uses it in the same Manner. And the Spaniards have from thence form'd their hazienda, which signifies either Wealth, Possessions, Ability, or Business.

Note return to page 39 [7] (7) Maid, Fair Weather after you. Come, Jaquenetta, away.] Thus all the printed Copies: but the Editors have been guilty of much Inadvertence. They make Jaquenetta, and a Maid enter: whereas Jaquenetta is the only Maid intended by the Poet, and who is committed to the Custody of Dull, to be convey'd by him to the Lodge in the Park. This being the Case, it is evident to Demonstration, that—Fair Weather after you—must be spoken by Jaquenetta; and then that Dull says to her, Come, Jaquenetta, away, as I have regulated the Text.

Note return to page 40 [8] (8) When she did starve the general World beside,] Catullus has a Compliment, much of this Cast, to his Lesbia in his 87th Epigram: &lblank; quæ cùm pulcherrima tota est, Tum omnibus una omnes surripuit Veneres.

Note return to page 41 [9] (9) &lblank; And not demands One payment of an hundred thousand Crowns, To have his Title live in Aquitaine.] The old Books concur in this Reading, and Mr. Pope has embraced it; tho', as I conceive, it is stark Nonsense, and repugnant to the Circumstance suppos'd by our Poet. I have, by reforming the Pointing, and throwing out a single Letter, restor'd, I believe, the genuine Sense of the Passage. Aquitain was pledg'd, it seems, to Navarre's Father for 200000 Crowns. The French King pretends to have paid one Moiety of this Debt, (which Navarre knows nothing of,) but demands this Moiety back again: instead whereof (says Navarre) he should rather pay the remaining Moiety, and demand to have Aquitain redeliver'd up to him. This is plain and easy Reasoning upon the Fact suppos'd; and Navarre declares, he had rather receive the Residue of his Debt, than detain the Province mortgag'd for Security of it.

Note return to page 42 [10] (10) I have made it a Rule throughout this Edition, to replace all those Passages, which Mr. Pope in his Impressions thought fit to degrade. As We have no Authority to call them in Question for not being genuine; I confess, as an Editor, I thought I had no Authority to displace them. Tho, I must own freely at the same time, there are some Scenes (particularly, in this Play;) so very mean and contemptible, that One would heartily wish for the Liberty of expunging them. Whether they were really written by our Author, whether he penn'd them in his boyish Age, or whether he purposely comply'd with the prevailing Vice of the Times, when Puns, Conundrum, and quibbling Conceits were as much in Vogue, as Grimace and Arlequinudes are at this wise Period, I dare not take upon me to determine.

Note return to page 43 [11] (11) Boyet. You are too hard for me.] Here, in all the Books, the 2d Act is made to end: but in my Opinion very mistakenly. I have ventur'd to vary the Regulation of the four last Acts from the printed Copies, for these Reasons. Hitherto, the 2d Act has been of the Extent of 7 Pages; the 3d but of 5; and the 5th of no less than 29. And this Disproportion of Length has crouded too many Incidents into some Acts, and left the others quite barren. I have now reduced them into a much better Equality; and distributed the Business likewise (such as it is,) into a more uniform Cast. The Plot now lies thus. In the first Act, Navarre and his Companions sequester themselves, by Oath, for 3 Years from Conversation, Women, Feasting, &c. resolving a Life of Contemplation, and to relieve their Study. at Intervals, with Armado and Costard. The Princess of France's Arrival is prepared. Armado's Ridiculous Passion for a Country Wench, and his, and Costard's Characters, are open'd.—In the 2d Act, The Princess with her Ladies arrives, and explains the Reason of her Coming Navarre behaves so courteously to her, that Boyet, one of her Lords, suspects him to be in Love. Armado's Amour is continued; who sends a Letter by Costard to his Mistress Jaquenetta. Biron likewise sends a Billet-doux by Costard to Rosaline, one of the French Ladies; and in a Soliloquy confesses his being in Love, tho' against his Oath.—In the third Act, the Princess and her Ladies, preparing to kill a Deer in the Park, Costard comes to deliver Biron's Letter to Rosaline; but by Mistake gives That, which Armado had directed to Jaquenetta. The two Pedants Sir Nathaniel, and Holofernes are introduc'd. Jaquenetta produces Biron's Letter, deliver'd by Costard's Mistake to her, requesting them to read it: who, observing the Contents, send it by Costard and Jaquenetta to the King. Biron, standing perdue in the Park, overhears the King, Longaville, and Dumaine confessing their Passions for their respective Mistresses; and, coming forward, reproaches them with their Perjury. Jaquenetta and Costard bring the Letter (as they were order'd by the Pedants) to the King, who bids Biron read it. He, finding it to be his own Letter, tears it in a Passion for Costard's Mistake. The Lords, picking it up, find it to be of Biron's handwriting, and an Address to Rosaline. Biron pleads guilty: and all the Votarists at last consent to continue their Perjury, and address their several Mistresses with some Masque or Device.—In the fourth Act, The Pedants (returning from their Dinner,) enter into a Discourse suitable to their Characters. Armado comes to them, tells them, he is injoin'd by the King to frame some Masque for the Entertainment of the Princess, and craves their learned Assistance. They propose to represent the nine Worthies, and go out to prepare themselves. The Princess and her Ladies talk of their several Lovers, and the Presents made to them. Boyet brings notice, that the King and his Lords are coming to address them, disguis'd like Muscovites. The Ladies propose to be mask'd, and exchange the Favours with one another, which were given them by their Lovers: that so they, being deceived, may every one address the wrong Person. This accordingly hits, and they are rallied from off the Spot by the Ladies: who triumph in this Exploit, and resolve to banter them again, when they return in their own Persons.—In the last Act, The King and his Lords come to the Princess's Tent, and all confess their Loves. Costard enters to tell the Approach of the Worthies Masque; which finish'd, News is brought of the Death of the Princess's Father. The King and the Lords renewing their Love-suits, the Ladies agree to marry them at a Twelvemonth's End, under certain Injunctions; and so the Play ends.—Thus the Story (tho' clogg'd with some Absurdities,) has its proper Rests: the Action rises by Gradations, according to Rules: and the Plot is embroil'd and disengaged, as it ought; as far as the Nature of the Fable will admit.

Note return to page 44 [12] (12) Moth. No, my compleat Master, &c.] This whole Speech has been so terribly confused in the pointing, through all the Editions hitherto, that not the least Glimmering of Sense was to be pick'd out of it. As I have regulated the Passage, I think, Moth delivers both good Sense and good Humour.

Note return to page 45 [13] (13) Canary to it with your Feet,] So All's Well that &c. Act. 2. Sc. 2. &lblank; I have seen a Medecin, That's able to breath Life into a Stone, Quicken a Rock, and make you dance Canary With sprightly Fire and Motion; &c. From both these Passages the Canary seems to have been a Dance of much Spirit and Agility. Some Dictionaries tell us, that this Dance deriv'd its Name, as it's probable it might, from the Islands so call'd. But Richelet gives us a Description of it the most conformable to our Author; Dance, où l'on remuë fort vîte les piez. A Dance, in which the Feet are shifted with great Swiftness.

Note return to page 46 [14] (14) &lblank; these betray nice Wenches, that would be betray'd without these, and make them Men of Note.] Thus all the Editors, with a Sagacity worthy of Wonder. But who will ever believe, that the odd Attitudes and Affectations of Lovers, by which they betray young Wenches, should have power to make those young Wenches Men of Note? This is a Transformation, which, I dare say, the Poet never thought of. His Meaning is, that they not only inveigle the young Girls, but make the Men taken notice of too, who affect them. I reduc'd the Passage to good Sense, in my Shakespeare restor'd, by cashiering only a single Letter: and Mr. Pope, in his last Impression, has vouchsaf'd to embrace my Correction.

Note return to page 47 [15] (15) Arm. But O, but O &lblank; Moth. The Hobby-horse is forgot.] The Humour of this Reply of Moth's to Armado, who is sighing in Love, cannot be taken without a little Explanation: nor why there should be any Room for making such a Reply. A Quotation from Hamlet will be necessary on this Occasion; &lblank; Or else shall he suffer not thinking on, with the hobby-horse, whose Epitaph is, For oh! for oh! the Hobby-horse is forgot. And another from Beaumont and Fletcher in their Women pleased. Soto. Shall the Hobby-horse be forgot then? The hopefull Hobby-horse? shall he lie founder'd? In the Rites formerly observ'd for the Celebration of May-day, besides those now us'd of hanging a Pole with Garlands, and dancing round it, a Boy was drest up representing Maid Marian; another, like a Fryar; and another rode on a Hobby-horse, with Bells jingling, and painted Streamers. After the Reformation took place, and Precisians multiplied, these latter Rites were look'd upon to savour of Paganism; and then Maid Marian, the Fryar, and the poor Hobby-horse were turn'd out of the Games. Some, who were not so wisely precise, but regretted the Disuse of the Hobby-horse, no doubt, satiriz'd this Suspicion of Idolatry, and archly wrote the Epitaph above alluded to. Now Moth, hearing Armado groan ridiculously, and cry out, But oh! but oh!—humourously pieces out his Exclamation with the Sequel of this Epitaph: which is putting his Master's Love-passion, and the Loss of the Hobby-horse, on a Footing. The Zealots' Detestation of this Hobby-horse, I think, is excellently sneer'd at by B. Jonson in his Bartholomew-fair. In this Comedy, Rabby-Busy, a Puritan, is brought into the Fair; and being ask'd by the Toyman to buy Rattles, Drums, Babies, Hobby-horses, &c. He immediately in his Zeal cries out: Peace, with thy Apocryphal Wares, thou prophane Publican! Thy Bells, thy Dragons, and thy Tobit's Dogs. Thy Hobby-horse is an Idol, a very Idol, a fierce and rank Idol; and Thou the Nebuchadnezzar, the proud Nebuchadnezzar of the Fair, that set'st it up for Children to fall down to end worship.

Note return to page 48 [16] (16) No, I'll give you a Remuneration: Why? It carries its Remuneration. Why? It is a fairer Name than a French-Crown.] Thus this Passage has hitherto been writ, and pointed, without any Regard to Common Sense, or Meaning. The Reform, that I have made, slight as it is, makes it both intelligible and humourous.

Note return to page 49 [17] (17) This Signior Junio's giant-dwarf, Dan Cupid.] It was some time ago ingeniously hinted to me, (and I readily came into the Opinion;) that as there was a Contrast of Terms in giant-dwarf, so, probably, there should be in the Words immediately preceding them; and therefore that we should restore, This Senior-junior, giant-dwarf, Dan Cupid. i. e. this old, young Man. And there is, indeed, afterwards in this Play, a Description of Cupid, which sorts very aptly with such an Emendation. That was the way to make his Godhead wax, For he hath been five thousand years a boy. The Conjecture is exquisitely well imagin'd, and ought by all Means to be embrac'd, unless there is Reason to think, that, in the former Reading, there is an Allusion to some Tale, or Character in an old Play. I have not, on this Account, ventur'd to disturb the Text, because there seems to me some Reason to suspect, that our Author is here alluding to Beaumont and Fletcher's Bonduca. In that Tragedy there is the Character of one Junius, a Roman Captain, who falls in Love to Distraction with one of Bonduca's Daughters; and becomes an arrant whining Slave to this Passion. He is afterwards cur'd of his Infirmity, and is as absolute a Tyrant against the Sex. Now, with Regard to these two Extremes, Cupid might very properly be stiled Junius's giant-dwarf: a Giant in his Eye, while the Dotage was upon him; but shrunk into a Dwarf, so soon as he had got the Better of it. Our Poet writing the Name with the Italian Termination, and calling him Signior Junio, would, I think, be an Objection of little Weight to urge, that the Roman Captain could not therefore be meant.

Note return to page 50 [18] (18) And I to be a Corporal of his Field, And wear his Colours like a Tumbler's hoop!] A Corporal of a Field is quite a new Term: neither did the Tumblers ever adorn their Hoops with Ribbands, that I can learn: for Those were not carried in Parade about with them, as the Fencer carries his Sword: Nor, if they were, is the Similitude at all pertinent to the Case in hand. But to stoop like a Tumbler agrees not only with that Profession, and the servile Condescensions of a Lover, but with what follows in the Context. What misled the wise Transcribers at first, seems This: When once the Tumbler appear'd, they thought, his Hoop must not be far behind. Mr. Warburton.

Note return to page 51 [19] (19) Boyet, you can carve; Break up this Capon.] i. e. open this Letter. Our Poet uses this Metaphor, as the French do their Poulet; which signifies both a young Fowl, and a Love-letter. Poulet, amatoriæ Litteræ; says Richelet: and quotes from Voiture, Répondre au plus obligeant Poulet du Monde; To reply to the most obliging Letter in the World. The Italians use the same manner of Expression, when they call a Love-Epistle, una Pollicetta amorosa. I ow'd the Hint of this equivocal use of the Word to my ingenious Friend Mr. Bishop. I observe in Westwardhoe, a Comedy written by a Contemporary with our Author, that one of these Letters is likewise call'd a Wild-fowl. Act. 2. Sc. 2. At the Skirt of that Sheet in black Work is wrought his Name. Break not up the Wild-fowl till anon, and then feed upon him in Private.

Note return to page 52 [20] (20) &lblank; And such barren Plants are set before us, that we thankful should be; which we taste, and feeling are for those Parts that do fructify in us more than be.] If this be not a stubborn Piece of Nonsense, I'll never venture to judge of common Sense. That Editors should take such Passages upon Content, is, surely, surprising. The Words, 'tis plain, have been ridiculously, and stupidly, transpos'd and corrupted. The Emendation I have offer'd, I hope, restores the Author; At least, I am sure, it gives him Sense and Grammar: and answers extremely well to his Metaphors taken from planting.— Ingradare, with the Italians, signifies, to rise higher and higher; andare di grado in grado, to make a Progression; and so at length come to fructify, as the Poet expresses it. Mr. Warburton.

Note return to page 53 (21) Nath. Fauste, precor, gelidâ] Tho' all the Editions concur to give this Speech to Sir Nathaniel, yet, as Dr. Thirlby ingeniously observ'd to me, it is evident, it must belong to Holofernes. The Curate is employ'd in reading the Letter to himself; and while he is doing so, that the Stage may not stand still, Holofernes either pulls out a Book; or, repeating some Verses by heart from Mantuanus, comments upon the Character of that Poet. Baptista Spagnolus, (sirnamed Mantuanus, from the Place of his Birth;) was a voluminous Writer of Poems, who flourish'd towards the latter End of the 15th Century.

Note return to page 54 [22] (22) Venechi, venache a, qui non te vide, i non te piaech.] Thus Mr. Rowe, and Mr. Pope, from the old blundering Editions. But that these Gentlemen, Poets, Scholars, and Linguists, could not afford to restore this little Scrap to true Italian, is to me unaccountable. Our Author is applying the Praises of Mantuanus to a common proverbial Sentence, said of Venice. Vinegia, Vinegia! qui non te vedi, ei non te pregia. O Venice, Venice, he, who has never seen thee, has thee not in Esteem.

Note return to page 55 (23) What! my Soul! Verses?] As our Poet has mention'd Horace, I presume, he is here alluding to this Passage in his I. Sermon. 9. Quid agis, dulcissime rerum?

Note return to page 56 (24) Let me supervise the Cangenet.] If the Editors have met with any such Word, it is more than I have done, or, I believe, ever shall do. Our Author wrote Canzonet, from the Italian Word Canzonette, a little Song. We meet with it in B. Jonson's Cynthia's Revells. O! what a Call is there! I will have a Canzonet made with nothing in it but, Sirrah! and the Burthen shall be, I come.

Note return to page 57 (25) Nath. Here are only Numbers ratified;] Tho' this Speech has been all along plac'd to Sir Nathaniel, I have ventur'd to join it to the preceding Words of Holofernes; and not without Reason. The Speaker here is impeaching the Verses; but Sir Nathaniel, as it appears above, thought them learned ones: besides, as Dr. Thirlby observes, almost every Word of this Speech fathers itself on the Pedant. So much for the Regulation of it; now, a little, to the Contents. And why indeed Naso, but for smelling out the odoriferous Flowers of Fancy? the jerks of Invention imitary is nothing. Sagacity with a Vengeance! I should be asham'd to own myself a piece of a Scholar, to pretend to the Task of an Editor, and to pass such Stuff as this upon the World for genuine. Who ever heard of Invention imitary? Invention and Imitation have ever been accounted two distinct Things. The Speech is by a Pedant, who frequently throws in a Word of Latin amongst his English; and he is here flourishing upon the Merit of Invention, beyond That of Imitation, or copying after another. My Correction makes the Whole so plain and intelligible, that, I think, it carries Conviction along with it. Again; So doth the Hound his Master, the Ape his Keeper, the tired Horse his Rider. The Pedant here, to run down Imitation, shews that it is a Quality within the Capacity of Beasts: that the Dog and the Ape are taught to copy Tricks by their Master and Keeper; and so is the tir'd Horse by his Rider. This last is a wonderful Instance; but it happens not to be true. Mr. Warburton ingeniously saw, that the Author must have wrote— the tryed Horse his Rider. i. e. One, exercis'd, and broke to the Manage: for he obeys every Sign, and Motion of the Rein, or of his Rider. This is not the only Passage, where our Author employs tryed in the Sense of, exercis'd, train'd. So in Two Gentlemen of Verona. And how he cannot be a perfect Man, Not being try'd, and tutour'd in the World.

Note return to page 58 [26] (26) Why, he comes in like a perjur'd, wearing Papers.] All the Editions, that I have seen, give us a nonsensical Adjective here, except the first old Folio, and a Quarto Impression of this Play publish'd in 1623: in Both which it is rightly, as I have regulated the Text, a Perjure. So, in the Troublesom Reign of K. John, in two Parts. But now black-spotted Perjure as he is. In like manner the French make a Substantive of this Word, Un Parjure: i. e. a forsworn Wretch.

Note return to page 59 [27] (27) Oh, Rhymes are Guards on wanton Cupid's Hose; Disfigure not his Shop.] All the Editions happen to concur in this Error; but what Agreement in Sense is there betwixt Cupid's Hose and his Shop? Or, what Relation can those two Terms have to one another? Or, what, indeed, can be understood by Cupid's Shop? It must undoubtedly be corrected, as I have reform'd the Text. Slops are large and wide kneed Breeches, the Garb in Fashion in our Author's Days, as we may observe from old Family Pictures; but they are now worn only by Boors, and Sea-faring Men: and we have Dealers whose sole Business it is to furnish the Sailors with Shirts, Jackets, &c. who are call'd, Slop-men: and their Shops, Slop shops.—Shakespeare knew the Term, and has made use of it in more than one Place. 2 Henr. IV. What said Mr. Dombledon about the Sattin for my short Cloak and Slops? Romeo and Juliet. Signior Romeo, bon jour;—there's a French Salutation to your French Slop. Much Ado about Nothing. &lblank; or in the Shape of two Countries at once, as a German from the Waste downward, all Slops: &c.

Note return to page 60 [28] (28) By Earth, she is not, corporal, there you lie.] Dumaine, one of the Lovers in spite of his Vow to the contrary, thinking himself alone here, breaks out into short Soliloquies of Admiration on his Mistress; and Biron, who stands behind as an Evesdropper, takes Pleasure in contradicting his amorous Raptures. But Dumaine was a young Lord: he had no Sort of Post in the Army: What Wit, or Allusion, then, can there be in Biron's calling him Corporal? I dare warrant, I have restor'd the Poet's true Meaning, which is this. Dumaine calls his Mistress divine, and the Wonder of a mortal Eye; and Biron in flat Terms denies these hyperbolical Praises. I scarce need hint, that our Poet commonly uses corporal, as corporeal. A Passage, very similar to this, occurs before, betwixt Proteus and Valentine, in the Two Gentlemen of Verona. Val. Ev'n She; and is She not a heav'nly Creature? Pro. No: but She is an earthly Paragon.

Note return to page 61 [29] (29) Is Ebony like her? O Word divine!] This is the Reading of all the Editions, that I have seen: but both Dr. Thirlby and Mr. Warburton concurr'd in reading, (as I had likewise conjectur'd), O Wood divine!

Note return to page 62 [30] (30) &lblank; black is the Badge of Hell; The hue of Dungeons, and the School of Night.] Black, being the School of Night, is a Piece of Mystery above my Comprehension. I had guess'd, it should be, the Stole of Night: but I have preferr'd the Conjecture of my Friend Mr. Warburton, as it comes nearer in Pronunciation to the corrupted Reading, as well as agrees better with the other Images.

Note return to page 63 [31] (31) Have at you then Affections. Men at Arms,] Thus Mr. Pope has pointed this Passage in Both his Impressions, not much to the Praise of his Sagacity. The third Edition in Folio began the Corruption of the Place in this Manner; Have at you then Affections, Men at Arms, which Mr. Rowe inadvertently follow'd. But we must certainly read, as I have restor'd to the Text: Have at you then, Affection's Men at Arms; i. e. Love's Soldiers. The King says, towards the Conclusion of this Scene; Saint Cupid, then! and, Soldiers to the Field! for by giving Cupid as the Word, he would intimate that they fought under his Banner.

Note return to page 64 [32] (32) A Lover's Ear will hear the lowest Sound, When the Suspicious Head of Theft is stop'd.] I have ventur'd to substitute a Word here, against the Authority of all the printed Copies. There is no Contrast of Terms, betwixt a Lover and a Thief: but betwixt a Lover and a Man of Thrift there is a remarkable Antithesis. Nor is it true in Fact, I believe, that a Thief, harden'd to the Profession, is always suspicious of being apprehended; but He may sleep as sound as an honester Man. But, according to the Ideas we have of a Miser, a Man who makes Lucre and Pelf his sole Object and Pursuit, his Sleeps are broken and disturb'd with perpetual Apprehensions of being robb'd of his darling Treasure: consequently his Ear is upon the Attentive Bent, even when he sleeps best.

Note return to page 65 [33] (33) For Valour is not Love a Hercules, Still climbing Trees in the Hesperides?] I have here again ventur'd to transgress against the printed Books. The Poet is here observing how all the Senses are refin'd by Love. But what has the poor Sense of Smelling done, not to keep its Place among its Brethren? Then Hercules's Valour was not in climbing the Trees, but in attacking the Dragon gardant. I rather think, the Poet meant, that Hercules was allured by the Odour and Fragrancy of the golden Apples. So Virgil speaks of a particular Fruit, upon which the Commentators are not agreed. Et, si non alium latè jactaret odorem, Laurus erat: &lblank; Georg. II. Besides, setting aside the Allusion of Hercules to the Fruit, Lovers think so grateful an Odour transpires from their Mistresses, that from every Pore (as Nat. Lee has express'd it) a Perfume falls. To these Fragrancies the Classics frequently allude. &lblank; quid babes Illius, illius, Quæ spirabat Amores, Quæ me surpuerut mihi. Hor. lib. iv. Od. 13. Cum tu, Lydia, Telephi Cervicem roseam, lactea Telephi Laudas brachia. Idem. lib. i. Od. 13. For Badius Ascentius, explaining Cervicem roseam, says, i. e. fragrantem, aut formosam. So likewise Virgil, describing the Fragancy of Venus, &lblank; avertens roseâ Cervice refulsit, Ambrosiæque Comæ divinum Vertice Odorem Spiravêre. &lblank; Æneid. I.

Note return to page 66 [34] (34) And when Love speaks, the Voice of all the Gods, Make Heaven drowsie with the Harmony.] As this is writ and pointed in all the Copies, there is neither Sense, nor Concord; as will be obvious to every understanding Reader. The fine and easy Emendation, which I have inserted in the Text, I owe to my ingenious Friend Mr. Warburton. His Comment on Heaven being drowsie with the Harmony is no less ingenious; and therefore, I'll subjoin it in his own Words. “Musick, we must observe, in our Author's time had a very different Use to what it has now. At present, it is only employ'd to raise and inflame” the Passions; then, to calm and allay all kind of Perturbations. And, agreeable to this Observation, throughout all Shakespeare's Plays, where Musick is either actually used, or its Power describ'd, 'tis always said to be for these Ends. Particularly, it was most frequently us'd at the Couchée of the Great. Heaven being made drowsie with the Harmony, therefore I take to mean, soothing their Cares, and lulling them to Rest. For the Classical Deities, like earthly Grandees, are subject to the most violent Perturbations of humane Passions”.

Note return to page 67 [35] (35] Alone, alone, sow'd Cockrel,] The Editors, sure, could have no Idea of this Passage. Biron begins with a Repetition in French of what the King had said in English; Away, away! and then proceeds with a proverbial Expression, inciting them to what he had before advis'd, from this Inference; if We only sow Cockle, we shall never reap Corn, i. e. If we don't take the proper Measures for winning these Ladies, we shall never atchieve them. Mr. Warburton.

Note return to page 68 [36] (36) It insinuateth me of infamy: Nè intelligis, Domine, to make frantick, lunatick? Nath. Laus Deo, bone intelligo. Hol. Bome boon for boon Prescian; a little Scratch, 'twill serve.] This Play is certainly none of the best in it self, but the Editors have been so very happy in making it worse by their Indolence, that they have left me Augeas's Stable to cleanse: and a Man had need have the Strength of a Hercules to heave out all their Rubbish. But to Business; Why should infamy be explain'd by making frantick, lunatick? It is plain and obvious that the Poet intended, the Pedant should coin an uncouth affected Word here, insanie, from insania of the Latines. Then, what a Piece of unintelligible Jargon have these learned Criticks given us for Latine? I think, I may venture to affirm, I have restor'd the Passage to its true Purity. Nath. Laus Deo, bone, intelligo. The Curate, addressing with Complaisance his brother Pedant, says, bone, to him, as we frequently in Terence find bone Vir; but the Pedant thinking, he had mistaken the Adverb, thus descants on it. Bone?—bone for benè. Priscian a little scratch'd: 'twill serve. Alluding to the common Phrase, Diminuis Prisciani caput, apply'd to such as speak false Latine.

Note return to page 69 [37] (37) The last of the five Vowels, if you repeat them; or the fifth if I: Hol. I will repeat them, a e I &lblank; Moth. The Sheep:—the other two concludes it out.] Wonderful Sagacity again! All the Editions agree in this Reading; but is not the last, and the fifth, the same Vowel? Tho' my Correction restores but a poor Conundrum, yet if it restores the Poet's Meaning, it is the Duty of an Editor to trace him in his lowest Conceits. By, O, U, Moth would mean—Oh, You.—i. e. You are the Sheep still, either way; no Matter, which of Us repeats them.

Note return to page 70 [38] (38) I will whip about your Infamy unum cita;] Here again all the Editions give us Jargon instead of Latine. But Moth would certainly say, circùm circà: i. e. about and about.

Note return to page 71 [39] (39) &lblank; as much Love in Rhyme, As would be cram'd up in a Sheet of Paper, Writ on both sides the Leaf, margent and all.] I dare not affirm This to be an Imitation, but it carries a mighty Resemblance of this Passage in the Beginning of Juvenal's first Satire. &lblank; summi plenâ jàm margine libri Scriptus, & in tergo, nee dùm finitus Orestes.

Note return to page 72 [40] (40) &lblank; for past Care is still past Cure.] The Transposition which I have made in the two Words, Care and Cure, is by the Direction of the ingenious Dr. Thirlby. The Reason speaks for it self.

Note return to page 73 [41] (41) Prin. Pox of that jeast, and I beshrew all Shrews. As the Princess has behav'd with great Decency all along hitherto, there is no Reason to be assign'd why she should start all at once into this course Dialect. But I am perswaded, the Editors only have made her go out of Character. In short, Rosaline and Catharine are rallying one another without Reserve; and to Catharine this first Line certainly belong'd, and therefore I have ventur'd once more to put her in Possession of it.

Note return to page 74 [42] (42) So pertaunt like would I o'ersway his State,] If the Editors are acquainted with this Word, and can account for the Meaning of it, their Industry has been more successful than mine, for I can no where trace it. So pedant like, as I have ventur'd to replace in the Text, makes very good Sense, i. e. in such lordly, controlling, manner would I bear Myself over him, &c. What Biron says of a Pedant, towards the Conclusion of the 2d Act, countenances this Conjecture. A domineering Pedant o'er the boy, Than whom no Mortal more magnificent.

Note return to page 75 [43] (43) With such a zealous Laughter, so profound, That in this Spleen ridiculous appears, To check their Folly, passions, solemn tears.] As Mr. Rowe and Mr. Pope have writ and stop'd this Passage, 'tis plain, they gave themselves no Pains to understand the Author's Meaning. Tho' for the Rhyme-sake, we have a Verb singular following a Substantive plural, yet This is what Shakespeare would say; “They cry'd as heartily with laughing, as if the deepest Grief had been the Motive”. So before, in Midsummer Night's Dream. Made mine Eyes water, but more merry tears The Passion of loud Laughter never shed.

Note return to page 76 [44] (44) Biron. Beauties, no richer than rich Taffata.] All the Editors concur to give this Line to Biron; but, surely, very absurdly: for he's One of the zealous Admirers, and hardly would make such an Inference. Boyet is sneering at the Parade of their Address, is in the secret of the Ladies Stratagem, and makes himself Sport at the Absurdity of their Proëm, in complimenting their Beauty, when they were mask'd. It therefore comes from him with the utmost Propriety.

Note return to page 77 [45] (45) King. Yet still she is the Moon, and I the Man. Rosa. The Musick plays, vouchsafe some Motion to it; Our Ears vouchsafe it.] This Verse, about the Man in the Moon, I verily believe to be spurious, and an Interpolation: because, in the first place, the Conceit of it is not pursued; and then it entirely breaks in upon the Chain of the Couplets, and has no Rhyme to it. However, I have not ventur'd to casheer it. The 2d Verse is given to Rosaline, but very absurdly. The King is intended to sollicit the Princess to dance; but the Ladies had beforehand declar'd their Resolutions of not complying. It is evident therefore, that it is the King, who should importune Rosaline, whom he mistakes for the Princess, to dance with him.

Note return to page 78 [46] (46) Fair Ladies maskt are roses in the bud: Dismaskt, their damask sweet Commixture shown, Are Angels vailing Clouds, or roses blown.] As these Lines stand in all the Editions, there is not only an Anticlimax with a Vengeance; but such a Jumble, that makes the whole, I think, stark Nonsense. I have ventur'd at a Transposition of the 2d and 3d Lines, by the Advice of my Friend Mr. Warburton; and by a minute Change, or two, clear'd up the Sense, I hope, to the Poet's Intention.

Note return to page 79 [47] (47) This is the Flow'r, that smiles on ev'ry one, &lblank;] A flower smiling, is a very odd Image. I once suspected, that the Poet might have wrote; This is the Fleerer, smiles on ev'ry One. But nothing is to be alter'd in the Text. The Metaphor is to be justified by our Author's Usage in other Passages. Romeo and Juliet. Mer. Nay, I am the very Pink of Courtesie. Rom. Pink for Flower. And again: He is not the Flower of Courtesie; but, I warrant him as gentle as a Lamb. But the complex Metaphor, as it stands in the Passage before us, will be much better justified by a fine piece of Criticism, which my ingenious Friend Mr. Warburton sent me upon this Subject. I'll subjoin it in his own Words. “What the Criticks call the broken, disjointed, and mixt Metaphor are very great Faults in Writing. But then observe this Rule, which, I think, is of general and constant Use in Writing, and very necessary to direct one's Judgment in this part of Style. That when a Metaphor is grown so common as to desert, as 'twere, the figurative, and to be receiv'd into the simple or common Style, then what may be affirm'd of the Substance, may be affirm'd of the Image, i. e. the Metaphor: For a Metaphor is an Image. To illustrate this Rule by the Example before us. A very complaisant, sinical, over-gracious Person was in our Author's time so commonly call'd a Flower, (or as he elsewhere styles it, the Pink of Courtesie,) that in common Talk, or in the lowest Style, it might be well used, without continuing the Discourse in the Terms of that Metaphor, but turning them on the Person so denominated. And now I will give the Reason of my Rule. In the less-used Metaphors, our Mind is so turn'd upon the Image which the Metaphor conveys, that it expects that that Image should be for a little time continued, by Terms proper to keep it up. But if, for want of these Terms, the Image be no sooner presented, but dropt; the Mind suffers a kind of Violence by being call'd off unexpectedly and suddenly from its Contemplation: and from hence the broken, disjointed, and mixt Metaphor shocks us. But when the Metaphor is worn and hackney'd by common Use, even the first Mention of it does not raise in the Mind the Image of it self, but immediately presents the Idea of the Substance: And then to endeavour to continue the Image, and keep it up in the Mind by proper adapted Terms, would, on the other hand, have as ill an Effect; because the Mind is already gone off from the metaphorical Image to the Substance. Grammatical Criticks would do well to consider what has been here said, when they set upon amending Greek and Roman Writings. For the much-used, hackney'd Metaphors in those Languages must now be very imperfectly known: and consequently, without great Caution, they will be subject to act temerariously.

Note return to page 80 [48] (48) That smiles his Cheek in years,] Thus the whole Set of Impressions: but I cannot for my Heart comprehend the Sense of this Phrase. I am perswaded, I have restor'd the Poet's Word and Meaning. Boyet's Character was That of a Fleerer, jeerer, mocker, carping Blade.

Note return to page 81 [49] (49) &lblank; with Libbard's head on knee.] This alludes to those old-fashion'd Garments, upon the Knees and Elbows of which it was frequent to have, by way of Ornament, a Leopard's, or Lion's stead. This Accoutrement the French call'd Une Masquine.

Note return to page 82 [50] (50) Your Lion that holds the poll-ax sitting on a Closestool,] Alexander the Great, as one of the Nine Worthies, bears Gules; a Lion, Or, seiant in a Chair, holding a Battle-axe argent. Vid. Ger. Leigh's Accidence of Armouries.—But why, because Nathaniel had behav'd ill as Alexander, was that Worthy's Lion and Poll-axe to be given to Ajax? Costard, the Clown, has a Conceit in This very much of a Piece with his Character. The Name of Ajax is equivocally us'd by him; and he means, the Insignia of such a Conqueror, as the Curate exhibited in his wretched Representation, ought to be given to a Jakes;—sit Verbo Reverentia! The same sort of Conundrum is used by B. Jonson at the Close of his Poem, call'd, The famous Voyage. And I could wish, for their eterniz'd sakes, My Muse had plow'd with his that sung A-jax.

Note return to page 83 [51] (51) This Hector far surmounted Hannibal. The party is gone] All the Editions stupidly have plac'd these last Words as Part of Armado's Speech in the Interlude. I have ventur'd to give them to Costard, who is for putting Armado out of his Part, by telling him the Party (i. e. his Mistress Jaquenetta,) is gone two Months with Child by him.

Note return to page 84 [52] (52) And it was injoin'd him in Rome for Want of Linnen] Shakespeare certainly alludes here to a famous Story, a Matter of Fact that happen'd at Rome, sometime, I think, before his Time. A Spaniard fell in a Duel: In his last Moments one of his most intimate Friends chanc'd to come by, condol'd with him, and offer'd his best Service. The Dying Person told him he had but One Request to make to him, and conjur'd him by the Memory of their long Friendship punctually to comply with It: which was, not to suffer him to be stript as usual, but to bury him in the Condition, and very Habit he was then in. When This was promis'd, the Spaniard clos'd his Eyes, with great Composure and Satisfaction. But his Friend's Curiosity prevail'd over his Obligations, and desiring to know the Reason of so uncommon a Request, so earnestly press'd, he had him stripp'd; and found, to his great Surprize, he was without a Shirt. Mr. Warburton.

Note return to page 85 [53] (53) An heavy heart bears not an humble Tongue.] Thus all the Editions; but, surely, without either Sense or Truth. None are more humble in Speech, than they who labour under any Oppression. The Princess is desiring, her Grief may apologize for her not expressing her Obligations at large; and my Correction is conformable to that Sentiment.

Note return to page 86 [54] (54) Biron. [And what to me, my Love? and what to me? Rosa. You must be purged too: your Sins are rank: You are attaint with Fault and Perjury. Therefore if you my Favour mean to get, A Twelvemonth shall you spend, and never rest, But seek the weary Beds of People sick.] These six Verses both Dr. Thirlby and Mr. Warburton concur to think should be expung'd; and therefore I have put them between Crotchets: Not that they were an Interpolation, says the Doctor, but as the Author's first Draught, which he afterwards rejected; and executed the same Thought a little lower with much more Spirit and Elegance. Mr. Warburton conjectures, that Shakespeare is not to answer for the present absurd Repetition, but his Actor Editors; who, thinking Rosalind's Speech too long in the second Plan, had abridg'd it to the Lines above quoted: but, in publishing the Play, stupidly printed both the Original Speech of Shakespeare, and their own Abridgment of it.

Note return to page 87 [55] (55) A wife, a beard, fair health, and honesty; With threefold Love I give you all these three. Thus our sagacious Modern Editors. But if they had but the Reckoning of a Tapster, as our Author says, they might have been able to distinguish four from three. I have, by the Direction of the old Impressions, reform'd the Pointing; and made Catharine say what She intended. Seeing Dumaine, so very young, approach her with his Addresses, “You shall have a Wife, indeed! says She; No, no, I'll wish you three Things you have more Need of, a Beard, a sound Constitution, and Honesty enough to preserve it such.

Note return to page 88 [56] (56) That's too long for a Play.] Besides the exact Regularity to the Rules of Art, which the Author has happen'd to preserve in some few of his Pieces; This is Demonstration, I think, that tho' he has more frequently transgress'd the Unity of Time, by cramming Years into the Compass of a Play, yet he knew the Absurdity of so doing, and was not unacquainted with the Rule to the contrary.

Note return to page 89 [57] (57) When Daizies py'd, and Violets blue, And Cuckow-buds of yellow Hue And Lady-smocks all silver white, Do paint the Meadows with Delight;] Tho' all the printed Copies range these Verses in this Order, I have not scrupled to transpose the second and third Verse, that the Metre may be conformable with That of the three following Stanza's; in all which the Rhymes of the first four Lines are alternate.—I have now done with this Play, which in the Main may be call'd a very bad One: and I have found it so very troublesom in the Corruptions, that, I think, I may conclude with the old religious Editors, Deo gratias!

Note return to page 90 [1] (1) As you like it.] Neither Mr. Langbaine nor Mr. Gildon acquaint us, to whom Shakespeare was indebted for any part of the Fable of this Play. But the Characters of Oliver, Jaques, Orlando, and Adam, and the Episodes of the Wrestler and the banish'd Tram seem to me plainly to be borrow'd from Chaucer's Legend of Gamelyn in the Cook's Tale. Tho' this Legend be found in many of the Old MSS. of that Poet, it was never printed till the last Edition of his Works, prepar'd by Mr. Urrey, came out.

Note return to page 91 [2] (2) &lblank; be better employ'd, and be naught awhile.] i. e. be better employ'd in my Opinion, in being, and doing, Nothing. Your Idleness, as you call it, may be an Exercise, by which you may make a figure, and endear your self to the World: and I'had rather, you were a contemptible Cypher. The Poet seems to me to have that trite proverbial Sentiment in his Eye, quoted from Attilius by the younger Pliny and others; Satius est otiosum esse quàm nihil agere. But Oliver, in the Perverseness of his Disposition, would reverse the Doctrine of the Proverb.

Note return to page 92 [3] (3) Clo. One, that old Frederick your Father loves. Ros. My Father's Love is enough to honour him enough;] This Reply to the Clown is in all the Books plac'd to Rosalind; but Frederick was not her Father, but Celia's: I have therefore ventur'd to prefix the Name of Celia. There is no Countenance from any Passage in the Play, or from the Dramatis Personæ, to imagine, that Both the Brother-Dukes were Namesakes; and One call'd the Old, and the Other the Younger Frederick; and, without some such Authority, it would make Confusion to suppose it.

Note return to page 93 [4] (4) Is there any else longs to see this broken Musick in his Sides?] This seems a stupid Error in the Copies. They are talking here of Some who had their Ribs broke in Wrestling: and the Pleasantry of Rosalind's Repartee must consist in the Allusion She makes to composing in Musick. It necessarily follows therefore, that the Poet wrote—set this broken Musick in his Sides. Mr. Warburton.

Note return to page 94 [5] (5) Wear this for me;] There is Nothing in the Sequel of this Scene, expressing What it is that Rosalind here gives to Orlando: nor has there been hitherto any Marginal Direction to explain it. It would have been no great Burden to the Editors' Sagacity, to have supply'd the Note I have given in the Margin: for afterwards, in the third Act, when Rosalind has found a Copy of Verses in the Woods writ on her self, and Celia asks her whether She knows who hath done this, Rosalind replies, by way of Question, Is it a Man? To which Celia again replies, Ay, and a Chain, that You once wore, about his Neck.

Note return to page 95 [6] (6) Is but a Quintaine, “] This Word signifies in general a Post or Butt set up for several kind of Martial Exercises. It served sometimes to run against, on Horseback, with a Lance: and then One Part of it was always movable, and turn'd about an Axis. But, besides This, there was another Quintaine, that was only a Post fix'd firmly in the Ground; on which they hung a Buckler, and threw their Darts, and shot their Arrows against it: and to This Kind of Quintaine it is that Shakespeare here alludes: And taking it in this latter Sense, there is an extreme Beauty and Justness in the Thought. “I am now, says Orlando, only a Quintaine, a meer lifeless Block, on which Love only exercises his Arms in Jest; the great Disparity between me and Rosalind, in Condition, not suffering Me to hope that ever Love will make a serious Matter of it.” Regnier, the famous Satirist, who dy'd about the Time our Author did, applies this very Metaphor to the same Subject, tho' the Thought be somewhat different. Et qui depuis dix ans, jusqu'en ses derniers jours, A soûtenu le Prix en l' Escrime d' Amours; Lasse enfin de servir au Peuple de Quintaine, Elle &c. Mr. Warburton.

Note return to page 96 [7] (7) No, some of it is for my Father's Child.] I have chosen to restore here the Reading of the older Copies, which evidently contains the Poet's Sentiment. Rosalind would say, “No, all my Distress and Melancholy is not for my Father; but some of it for my Sweetheart, whom I hope to marry and have Children by.” In this Sense She stiles him her Child's Father.

Note return to page 97 [8] (8) &lblank; Rosalind lacks then the Love, Which teacheth thee that thou and I am one] Tho' this be the Reading of all the printed Copies, 'tis evident, the Poet, wrote; Which teacheth Me &lblank; for if Rosalind had learnt to think Celia one Part of her Self, She could not lack that Love which Celia complains She does. My Emendation is confirm'd by what Celia says when She first comes upon the Stage. Herein I see, Thou lov'st me not with the full Weight that I love thee: &c. I could have taught my Love to take thy Father for mine; so wouldst Thou, if the Truth of thy Love to me were so righteously temper'd as mine is to thee.

Note return to page 98 [9] (9) Here feel we not the Penalty.] What was the Penalty of Adam, hinted at by our Poet? The being sensible of the Difference of the Seasons. The Duke says, the Cold and Effects of the Winter feelingly persuade him what he is. How does he not then feel the Penalty? Doubtless, the Text must be restor'd as I have corrected it: and 'tis obvious in the Course of these Notes, how often not and but by Mistake have chang'd Place in our Author's former Editions.

Note return to page 99 [10] (10) The bonny Priser of the humourous Duke.] Mr. Warburton advises to read, The bonny Priser &lblank; an Epithet more agreeing with the Wrestler, who is characteriz'd for his Bulk and Strength; not his Gaiety, Humour, or Affability. I have not disturb'd the Text, as the other Reading gives Sense; tho there are several Passages in the Play, which, in good Measure, vouch for my Friend's Conjecture. The Duke says, speaking of the Difference betwixt him and Orlando; You will take little Delight in it, I can tell you, there is such Odds in the Man: And the Princess says to Orlando; Young Gentleman, your Spirits are too bold for your Years: you have seen cruel Proof of this Man's Strength. And again, when they are wrestling; I would I were invisible, to catch the strong Fellow by the Leg. And in another Passage he is characteriz'd by the Name of the sinewy Charles.

Note return to page 100 [11] (11) O Jupiter! how merry are my Spirits?] And yet, within the Space of one intervening Line, She says, She could find in her Heart to disgrace her Man's Apparel, and cry like a Woman. Sure, this is but a very bad Symptom of the Briskness of Spirits: rather, a direct Proof of the contrary Disposition. Mr. Warburton and I, both, concurr'd in conjecturing it should be, as I have reform'd it in the Text;—how weary are my Spirits?

Note return to page 101 [12] (12) He, whom a Fool doth very wisely hit, Doth very foolishly, although he smart, Seem senseless of the bob, If not, &c.] Besides that the third Verse is defective one whole Foot in Measure, the Tenour of what Jaques continues to say, and the Reasoning of the Passage, shew it is no less defective in the Sense. There is no Doubt, but the two little Monosyllables, which I have supply'd, were either by Accident wanting in the Manuscript Copy, or by Inadvertence were left out at Press.

Note return to page 102 [13] (13) &lblank; and modern Instances,] It is very observable that Shakespeare uses modern exactly in the manner the Greeks used &grk;&gra;&gri;&grn;&grog;&grst;; which signifies sometimes in their Writings novus, recens; and sometimes absurdus. Mr. Warburton.

Note return to page 103 [14] (14) If a Hart doth lack a hind, &c.] The Poet, in arraigning this Species of Versification, seems not only to satirize the Mode, that so much prevail'd in his Time, of writing Sonnets and Madrigals; but tacitly to sneer the Levity of Dr. Thomas Lodge, a grave Physician in Queen Elizabeth's Reign, who was very fertil of Pastoral Songs; and who wrote a whole Book of Poems in the Praise of his Mistress, whom he calls Rosalind.

Note return to page 104 [15] (15) Good my Complexion, dost thou think &c. &lblank;] This is a Mode of Expression, that I could not reconcile to Common Sense; I have therefore ventur'd by a slight Change to read, Odd's, my Complexion! So, in another Scene of this Comedy, Rosalind again says; Odd's, my little Life! And, again; &lblank; 'Odd's, my Will! Her Love is not the Hare that I do hunt.

Note return to page 105 [16] (16) One Inch of Delay more is a South-sea of Discovery;] A South-sea of Discovery: This is stark Nonsense; We must read—off Discovery. i. e. from Discovery. “If you delay me one Inch of Time longer, I shall think this Secret as far from Discovery as the South-sea is.”

Note return to page 106 [17] (17) I pray You, marr no more of my Verses with reading them ill-favouredly.] The Poet seems to have had in his Eye this Distich of Martial; Lib. I. Epigr. 39. Quem recitas, meus est, o Fidentine, libellus;   Sed malè dum recitas, incipit esse tuus.

Note return to page 107 [18] (18) But I answer you right painted Cloth.] This alludes to the Fashion, in old Tapestry Hangings, of Motto's and moral Sentences from the Mouths of the Figures work'd or painted in them. The Poet again hints at this Custom in his Poem, call'd, Tarquin and Lucrece; Who fears a Sentence, or an Old Man's Saw, Shall by a painted Cloth be kept in Awe.

Note return to page 108 [19] (19) And his kissing is as full of Sanctity, as the Touch of holy Bread.] Tho' this be the Reading of the oldest Copies, I have made no Scruple to substitute an Emendation of Mr. Warburton, which mightily adds to the Propriety of the Similie. What can the Poet be suppos'd to mean by holy Bread? Not the Sacramental, sure; that would have been Prophanation, upon a Subject of so much Levity. But holy Beard very beautifully alludes to the Kiss of a holy Saint, which the Antients call'd the Kiss of Charity. And for Rosalind to say, that Orlando kiss'd as holily as a Saint, renders the Comparison very just.

Note return to page 109 [20] (20) He hath bought a pair of chast Lips of Diana; a Nun of Winter's Sisterhood kisses not more religiously; the very Ice of Chastity is in them] This Pair of chast Lips is a Corruption as Old as the second Edition in Folio; I have restor'd with the first Folio, a Pair of cast Lips, i. e. a Pair left off by Diana.—Again, what Idea does a Nun of Winter's Sisterhood give us? Tho' I have not ventur'd to disturb the Text, it seems more probable to me that the Poet wrote; A Nun of Winifred's Sisterhood, &c. Not, indeed, that there was any real religious Order of that Denomination: but the Legend of St. Winifred is this. She was a Christian Virgin at Holywell a small Town in Flintshire, so tenacious of her Chastity, that when a tyrannous Governour laid Siege to her, he could not reduce her to Compliance, but was oblig'd to ravish, and afterwards beheaded her in Revenge of her Obstinacy. Vid. Cambden's Britannia by Dr. Gibson p. 688. This Tradition sorts very well with our Poet's Allusion.

Note return to page 110 [21] (21) &lblank; will you sterner be, Than He that dies and lives by bloody Drops?] This is spoken of the Executioner. He lives, indeed, by bloody Drops, if you will: but how does he dye by bloody Drops? The Poet must certainly have wrote—that deals and lives &c. i. e. that gets his Bread, and makes a Trade of cutting off Heads. Mr. Warburton.

Note return to page 111 [22] (22) That you insult, exult, and all at once Over the wretched?] If the Speaker only intended to accuse the Person spoken to, for insulting and exulting, instead of &lblank; all at once, it ought to have been, both at once. But on examining, according to Fact, the Crime of the Person accus'd, we shall find, We ought to read the Line thus; That you insult, exult, and rail, at once &c. For these three things Phebe was guilty of. Mr. Warburton.

Note return to page 112 [23] (23) &lblank; What though you have no Beauty,] Tho' all the printed Copies agree in this Reading, it is very accurately observ'd to me by an ingenious unknown Correspondent, who signs himself L. H. (and to Whom I can only here make my Acknowledgments) that the Negative ought to be left out.

Note return to page 113 [24] (24) Then sing him home, the rest shall bear this Burthen.] This is an admirable Instance of the Sagacity of our preceding Editors, to say Nothing worse. One should expect, when they were Poets, they would at least have taken care of the Rhymes, and not foisted in what has Nothing to answer it. Now, where is the Rhyme to, the rest shall bear this Burthen? Or, to ask another Question, where is the Sense of it? Does the Poet mean, that He, that kill'd the Deer, shall be sung home, and the Rest shall bear the Deer on their Backs. This is laying a Burthen on the Poet, that We must help him to throw off. In short, the Mystery of the Whole is, that a Marginal Note is wisely thrust into the Text: the Song being design'd to be sung by a single Voice, and the Stanza's to close with a Burthen to be sung by the whole Company.

Note return to page 114 [25] (25) The heathen Philosopher, when he had a Design to eat a Grape.] This is certainly design'd as a Sneer on the several trifling, insignificant, Actions and Sayings, recorded in the Lives of the Philosophers as Things of great Moment. We need only reflect upon what we meet with in Diogenes Laertius, to be of this Opinion: especially, when We observe that it is introduced by one of their wise Sayings that precedes it. Mr. Warburton.

Note return to page 115 [26] (26) Truly, young Gentleman, tho' there was no great Matter in the Ditty, yet the Note was very untunable.] Tho' it is thus in all the printed Copies, it is evident from the sequel of the Dialogue, that the Poet wrote as I have reform'd in the Text, untimeable.

Note return to page 116 [27] (27) O, Sir, we quarrel in Print; by the Book; as You have Books for good Manners.] The Poet throughout this Scene has with great Humour and Address rallied the Mode, so prevailing in his Time, of formal Duelling, Nor could he treat it with a happier Contempt, than by making his Clown so knowing in all its Forms and Preliminaries. It was in Queen Elizabeth's Reign, that pushing with the Rapier, or small Sword, was first practis'd in England. And the boisterous Gallants fell into the Fashion with so much Zeal, that they did not content themselves with practising at the Sword in the Schools; but they studied the Theory of the Art, the Grounding of Quarrels, and the Process of giving and receiving Challenges, from Lewis de Caranza's Treatise of Fencing, Vincentio Saviola's Practice of the Rapier and Dagger, and Giacomo Di Grassi's Art of Defence; with many other Instructions upon the several Branches of the Science.

Note return to page 117 [1] (1) paucus pallabris.] Sly, as an ignorant Fellow, is purposely made to aim at Languages out of his Knowledge, and knock the Words out of Joint. The Spaniards say, pócas palabras, i. e. few Words: as they do likewise, Cessa, i. e. be quiet.

Note return to page 118 [2] (2) Go by S. Jeronimy, go to thy cold Bed, and warm thee.] All the Editions have coin'd a Saint here, for Sly to swear by. But the Poet had no such Intentions. The Passage has particular Humour in it, and must have been very pleasing at that time of day. But I must clear up a Piece of Stage-history, to make it understood. There is a fustian old Play, call'd, Hieronymo; Or, The Spanish Tragedy: which, I find, was the common But of Rallery to all the Poets of Shakespeare's Time: and a Passage, that appear'd very ridiculous in that Play, is here humourously alluded to. Hieronymo, thinking himself injur'd, applies to the King for Justice; but the Courtiers, who did not desire his Wrongs should be set in the true Light, attempt to hinder him from an Audience. Hiero. Justice, oh! justice to Hieronymo. Lor. Back;—see'st thou not, the King is busie? Hier. Oh, is he so? King. Who is He, that interrupts our Business? Hier. Not I:—Hieronymo, beware; go by, go by. So Sly here, not caring to be dun'd by the Hostess, cries to her in Effect, “Don't be troublesom, don't interrupt me, go by”; and, to fix the Satire in his Allusion, pleasantly calls her Jeronymo. What he says farther to her, go to thy cold Bed and warm thee, I take likewise to be a Banter upon another Verse in that Play. Hier. What Outcry calls me from my naked Bed? But this particular Passage of—Go, by, Hieronymo;—was so strong a Ridicule, that most of the Poets of that Time have had a Fling at it. For Instance; B. Jonson, in his Every Man in his Humour; What new Book have you there? What!— Go by, Hieronymo! And Beaumont and Fletcher, in their Captain: &lblank; and whoot at thee; And call thee Bloody-bones, and Spade, and Spitfire; And Gaffer Madman, and Go by, Jeronymo.— So Marston, in the Induction to his Antonio and Mellida; Nay, if You cannot bear two subtle Fronts under one Hood, Ideot; go by, go by, off this World's Stage. For 'tis plain, tho' Jeronymo is not mention'd, the Passage is here alluded to. And Decker in his Westward-hoe has tallied it very neatly by way of Simily. A Woman, when there be Roses in her Cheeks, Cherries on her Lips, Civet in her Breath, Ivory in her Teeth, Lilies in her hand, and Liquorish in her Heart, why, she's like a Play: if new, very good Company, very good Company: but if stale, like old Jeronymo,—go by, go by.

Note return to page 119 [3] (3) &lblank; I must go fetch the Headborough. Sly. Third, or fourth, or fifth Borough, &c.] This corrupt Reading had pass'd down through all the Copies, and none of the Editors pretended to guess at the Poet's Conceit. What an insipid, unmeaning Reply does Sly make to his Hostess? How do third, or fourth or fifth Borough relate to Headborough: The Author intended but a poor Witticism, and even That is lost. The Hostess would say, that she'll fetch a Constable: and this Officer she calls by his other Name, a Third-borough: and upon this Term Sly founds the Conundrum in his Answer to her. Who does not perceive, at a single Glance, some Conceit started by this certain Correction? There is an Attempt at Wit, tolerable enough for a Tinker, and one drunk too. Third-Borough is a Saxon-term sufficiently explain'd by the Glossaries: and in our Statute-books, no farther back than the 28th Year of Henry VIIIth, we find it used, to signify a Constable. The Word continued current in People's Mouths to our Author's time; and he has again employ'd it in another of his Plays: viz. Love's Labour lost. Dull, I my self reprehend his own Person; for I am his Grace's Tharborough. The word, 'tis true, is corrupted here; but This is done on purpose. Dull represents the Character of an ignorant Constable; and to make him appear more truly such, the Poet humourously makes him corrupt the very Name of his Office; and blunder Thirdborough into Tharborough, as he does represent into reprehend.—I made this Emendation, when I publish'd my Shakespeare restor'd; and Mr. Pope has vouchsaf'd to adopt it in his last Edition.

Note return to page 120 [4] (4) I think, 'twas Soto.] I take our Author here to be paying a Compliment to Beaumont and Fletcher's Women pleas'd, in which Comedy there is the Character of Soto, who is a Farmer's Son, and a very facetious Serving-man. Mr. Rowe and Mr. Pope prefix the Name of Sim to the Line here spoken; but the first folio has it Sincklo; which, no doubt, was the Name of one of the Players here introduc'd, and who had play'd the Part of Soto with Applause.

Note return to page 121 [5] (5) Who for these seven years hath esteem'd himself No better than a poor and loathsom Beggar.] I have ventur'd to alter a Word here, against the Authority of the printed Copies; and hope, I shall be justified in it by two subsequent Passages. That the Poet design'd, the Tinker's suppos'd Lunacy should be of 14 years standing at least, seems to me evident upon these Testimonies. These fifteen Years you have been in a Dream, Or, when you wak'd, so wak'd as if you slept. Sly. These fifteen years! by my Fay, a goodly Nap. And, again, Sly afterwards says to the Page, whom he takes to be his Lady. Madam Wife, they say, that I have dream'd and slept above some fifteen Years and more.

Note return to page 122 [6] (6) As Stephen Sly, and old John Naps of Greece,] An unknown Correspondent, (who signs himself L. H.) is pleas'd to propose this very reasonable Conjecture, &lblank; and old John Naps o' th' Green. As Sly says, He's the Son of old Sly of Burton-heath, and talks of the fat Alewife of Wincot; he thinks, he can with no Propriety have any Acquaintance in Greece. If, indeed, the Province of Greece were to be here understood, this Observation must necessarily take place; but I have not disturb'd the Text, because I do not know, but that, in the Neighbourhood of Wincot and Burton-heath, there may be some Village call'd Greece, or Greys, &c.

Note return to page 123 [7] (7) I am arriv'd for fruitful Lombardy,] Tho' all the Impressions concur in this, I take it to be a Blunder of the Editors, and not of the Author. Padua is not in Lombardy; but Pisa, from which Lucentio comes, is really in those Territories.

Note return to page 124 [8] (8) Where small Experience grows, but in a few.] Our Poet is frequently obscure in his Use of this Conjunction disjunctive. He means here, that small Experience grows to Youths, who stay at home; except to a Few, that are Exceptions to this Observation.

Note return to page 125 [9] (9) And her withholds he from me. Other more Suitors to her, and Rivals in my Love: &c.] The Editors, in this Carelessness of their Pointing, have made stark Nonsense of this Passage. The Regulation, which I have given to the Text, was dictated to me by the ingenious Dr. Thirlby.

Note return to page 126 [10] (10) Sir, I shall not be slack; in sign whereof, Please you, we may contrive this Afternoon,] What were they to contrive? Or how is it any Testimony of Tranio's consenting to be liberal, that he will join in contriving with them? In short, a foolish Corruption possesses the Place, that quite strips the Poet of his intended Humour. What was said here is purely &gres;&grn; &grhsa;&grq;&gre;&gri;, as the old Scholiasts call it, in Character. Tranio is but a suppos'd Gentleman: His Habit is all the Gentility he has about him: and the Poet, I am persuaded, meant that the Servingman's Qualities should break out upon him; and that his Mind should rather run on good Cheer than Contrivances. I have therefore ventur'd to suspect; Please you, we may convive this Afternoon, This agrees with, quaff Carowses; and with What he says at the Conclusion of this Speech, but eat and drink as Friends. And this word convive, however quaint and uncommon it may be, is again used by our Poet in his Troilus and Cressida: First, all You Peers of Greece, go to my Tent; There in the full convive You. It is regularly deriv'd from Convivium of the Latines; and the Active Verb, used more obsoletely instead of the Passive. Si Calendis convivant, Idibus cænant foris. And, Malo berclè suo magno convivant fine modo. Say Pomponius and Ennius, as quoted by Nonius Marcellus.

Note return to page 127 [11] (11) &lblank; But for these other Goods,] This is so trifling and unexpressive a Word, that, I am satisfied, our Author wrote, Gawds, (i. e. Toys, trifling Ornaments;) a Term that he frequently uses and seems fond of. Midsummer Night's Dream. With bracelets of thy hair, rings, gawds, conceits, Knacks, trifles, &lblank; And again, As the remembrance of an idle Gawde, Which in my Childhood I did doat upon. King John. Is all too wanton, and too full of Gawds, To give me Audience. So Beaumont and Fletcher in their Women pleas'd; Her Rules and Precepts hung with Gawds and Ribbands. And in their Two Noble Kinsmen; &lblank; What a mere Child is Fancy, That having Two fair Gawds of equal Sweetness, Cannot distinguish, but must cry for Both. &c. &c. &c.

Note return to page 128 [12] (12) Baccare, you are marvellous forward.] But not so forward, as our Editors are indolent and acquiescing. This is a stupid Corruption of the Press, that None of them have div'd into. We must read, Baccalare, as Mr. Warburton acutely observ'd to me; by which the Italians mean, Thou arrogant, presumptuous Man! The Word is used scornfully, upon any One that would assume a Port of Grandeur and high Repute: Per derisione d'huomo che stia in riputatione, e che grandeggi; says La Crusca. The French call such a Character, un Bravache; and the Spaniards, el Fanfarron.

Note return to page 129 [13] (13) Oh, pardon me, Signor Gremio, I would fain be doing. Gre.I doubt it not, Sir, but you will curse your wooing Neighbours. This is a Gift;] It would be very unreasonable, after such a Number of Instances, to suspect the Editors ever dwelt on the meaning of any Passage: But why should Petruchio curse his wooing Neighbours? They were None of them his Rivals: Nor, tho' he should curse his own Match afterwards, did he commence his Courtship on their Accounts. In short, Gremio is design'd to answer to Petruchio in doggrel Rhyme, to this purpose,—“Yes; I know, You would fain be doing; but you'll coap with such a Devil, that You'll have Reason to curse your Wooing.”— and then immediately turns his Discourse to Baptista, whom he calls Neighbour, (as he had done before at the Beginning of this Scene,) and makes his Present to him.

Note return to page 130 [14] (14) Gre. Two thousand Ducats by the year of Land! My Land amounts not to so much in all: That she shall have, and &lblank;] Tho' all the Copies concur in this Reading, surely, if We examine the Reasoning, something will be found wrong. Gremio is startled at the high Settlement Tranio proposes; says, his whole Estate in Land can't match it, yet he'll settle so much a Year upon her, &c. This is Mock-reasoning, or I don't know what to call it. The Change of the negative Monosyllable in the 2d Line, which Mr. Warburton prescrib'd, salves the Absurdity, and sets the Passage right. Gremio and Tranio are vyeing in their Offers to carry Bianca: The latter boldly proposes to settle Land to the Amount of 2000 Ducats per Annum. Ay, says the Other; My whole Estate in Land amounts but to that Value: yet she shall have That; I'll endow her with the Whole; and consign a rich Vessel to her Use, over and above. Thus all is intelligible, and he goes on to outbid his Rival.

Note return to page 131 [15] (15) &lblank; Wrangling Pedant, this The Patroness of Heavenly Harmony.] There can be no Reason, why Hortensio should begin with an Hemistich; but much less, why Mr. Pope should have yet curtail'd this Hemistich, against the Authority of all the old Copies, which read; &lblank; But, wrangling Pedant, this is The Words which I have added to fill the Verse, being purely by Conjecture, and supply'd by the Sense that seems requir'd, without any Traces of a corrupted Reading left, to authorize or found them upon; I have for that Reason inclosed them within Crotchets, to be embraced or rejected, at every Reader's pleasure.

Note return to page 132 [16] (16) In time I may believe, yet I mistrust.] This and the 7 Verses, that follow, have in all the Editions been stupidly shuffled and misplac'd to wrong Speakers: so that every Word said was glaringly out of Character. I first directed the true Regulation of them in my Shakespeare restor'd, and Mr. Pope has since embraced it in his last Edition. I ought to take notice, the ingenious Dr. Thirlby, without seeing my Book, had struck out the self-same Regulation.

Note return to page 133 [17] (17) Old Fashions please me best: I'm not so nice To change true Rules for new Inventions.] This is Sense and the Meaning of the Passage; but the Reading of the Second Verse, for all that, is sophisticated. The genuine Copies all concur in Reading, To change true Rules for old Inventions. This, indeed, is contrary to the very Thing it should express: But the easy Alteration, which I have made, restores the Sense, but adds a Contrast in the Terms perfectly just. True Rules are oppos'd to odd Inventions; i. e. Whimsies.

Note return to page 134 [18] (18) Am I but three Inches? why, thy Horn is a foot, and so long am I at the least.] This is said by Grumio to Curtis. But, tho' all the Copies agree in the Reading, what Horn had Curtis? But Grumio rides Post before his Master, and blows his Horn to give notice of his own coming home, and his Master's Approach.

Note return to page 135 [19] (19) Is't possible, friend Licio, &c.] This Scene Mr. Pope, upon what Authority I can't pretend to guess, has in his Editions made the First of the Fifth Act: in doing which, he has shewn the very Power and Force of Criticism. The Consequence of this judicious Regulation is, that two unpardonable Absurdities are fix'd upon the Author, which he could not possibly have committed. For, in the first place, by this shuffling the Scenes out of their true Position, we find Hortensio, in the fourth Act, already gone from Baptista's to Petruchio's Country-house; and afterwards in the Beginning of the fifth Act we find him first forming the Resolution of quitting Bianca; and Tranio immediately informs Us, he is gone to the Taming-School to Petruchio. There is a Figure, indeed, in Rhetorick, call'd, &grura;&grs;&grt;&gre;&grr;&gro;&grn; &grp;&grr;&groa;&grt;&gre;&grr;&gro;&grn;: But this is an Abuse of it, which the Rhetoricians will never adopt upon Mr. Pope's Authority. Again, by this Misplacing, the Pedant makes his first Entrance, and quits the Stage with Tranio in order to go and dress himself like Vincentio, whom he was to personate: but his Second Entrance is upon the very Heels of his Exit; and without any Interval of an Act, or one Word intervening, he comes out again equipp'd like Vincentio. If such a Critick be fit to publish a Stage-Writer, I shall not envy Mr. Pope's Admirers, if they should think fit to applaud his Sagacity. I have replac'd the Scenes in that Order, in which I found them in the Old Books.

Note return to page 136 [20] (20) &lblank; but at last I spied An ancient Angel going down the Hill, Will serve the turn.] Tho' all the printed Copies agree in this Reading, I am confident, that Shakespeare intended no Profanation here; not indeed any Compliment to this old Man who was to be impos'd upon, and made a Property of. The Word I have restor'd, certainly retrieves the Author's Meaning: and means, either in its first Signification, a Burdash; (for the Word is of Spanish Extraction, Ingle, which is equivalent to inguen of the Latines;) or, in its metaphorical Sense, a Gull, a Cully, one fit to be made a Tool of. And in both Senses it is frequently us'd by B. Jonson. Cynthia's Revels. &lblank; and sweat for every venial Trespass we commit, as some Author would, if he had such fine Engles as we. The Case is alter'd; (a Comedy not printed among B. Jonson's Works) What, Signior Antonio Balladino! welcome, sweet Engle. Poetaster. What, shall I have my Son a Stager now? an Engle for Players? And he likewise uses it, as a Verb, in the same Play, signifying to beguile, defraud. I'll presently go, and engle some Broker for a Poet's Gown, and bespeak a Garland.

Note return to page 137 [21] (21) &lblank; but formal in Apparel; In Gate and Countenance surely like a Father.] I have made bold to read, surly; and surely, I believe, I am right in doing so. Our Poet always represents his Pedants, imperious and magisterial. Besides, Tranio's Directions to the Pedant for his Behaviour vouch for my Emendation. 'Tis well; and hold your own in any Case, With such Austerity as longeth to a Father.

Note return to page 138 [22] (22) Tra. Where we were Lodgers at the Pegasus.] This Line has in all the Editions hitherto been given to Tranio. But Tranio could with no Propriety speak this, either in his assum'd or real Character. Lucentio was too young to know any thing of lodging with his Father, twenty years before at Genoa: and Tranio must be as much too young, or very unfit to represent and personate Lucentio. I have ventur'd to place the Line to the Pedant, to whom it must certainly belong, and is a Sequel of what he was before saying.

Note return to page 139 [23] (23) Happy the Parents of so fair a Child! Happier the Man, whom favourable Stars Allot thee for his lovely Bedfellow!] This Passage has a great Resemblance to what Ovid has made Salmacis say of Hermaphroditus. &lblank; qui te genuêre beati: Et mater fælix, & fortunata profectò Si qua tibi soror est, & quæ dedit ubera nutrix: Sed longè cunctis, longéque beatior illa est Si qua tibi Sponsa est, si quam dignabere tædâ. Mr. Warburton.

Note return to page 140 [24] (24) And then come back to my Mistress as soon as I can.] The Editions all agree in this Reading; but what Mistress was Biondello to come back to? He must certainly mean; “Nay, faith, Sir, I must see you in the Church; and then, for fear I should be wanted, I'll run back to wait on Tranio, who at present personates you, and whom therefore I at present acknowledge for my Master.”

Note return to page 141 [25] (25) Pet. Now, for my Life, Hortensio fears his Widow. Hor. Then never trust me if I be afeard.] This Line was first placed to Hortensio by the second Folio Edition: Mr. Rowe follow'd that Regulation; and Mr. Pope very judiciously has follow'd him. But the old Quarto's and first Folio Impression rightly place it to the Widow: and it is evident by Petruchio's immediate Reply, that it must belong to her. Petruchio says, Hortensio fears his Widow. The Widow understanding This, as if Petruchio had meant, that Hortensio affrighted her, put her into fears, denies, that She was afraid of him. Nay, says Petruchio, don't be too sensible, don't mistake my Meaning; Hortensio, I say, is in Fear of You.

Note return to page 142 [26] (26) Then vale your Stomachs, &c.] This Doctrine of Conjugal Obedience, that runs thro' all Catharine's Speech, shews the Business of the Play to be compleated in her being so thoroughly reform'd. But this Comedy has likewise a subservient Walk, which from the Beginning is connected to, and made a Part of the main Plot; viz. the Marriage of Bianca. This Marriage, according to the Regulation of all the Copies, is executed and clear'd up in the fourth Act: and the fifth Act is not made to begin till the whole Company meet at Lucentio's Apartment. By this Regulation, there is not only an unreasonable Disproportion in Length, betwixt the 4th and 5th Acts; but a manifest Absurdity committed in the Conduct of the Fable. By the Division I have ventur'd at, these Inconveniencies are remedied: and the Action lies more uniform. For now the whole Catastrophe is wound up in the 5th Act: It begins with Lucentio going to Church to marry Bianca: The true Vincentio arrives, to discover the Imposture carried on by the Pedant: and after this Eclaircissement is hung in Suspence (always a Pleasure to an Audience,) till towards the Middle of the 5th Act; the main Business is wound up, of Catharine approving herself to be a Convert; and an Instructer, in their Duty, to the other new-married Ladies.—If it be objected, that, by the Change I make, the Lord and his Servants (who are Characters out of the Drama) speak in the Middle of an Act; that is a Matter of no Importance. Their short Interlocution was never design'd to mark the Intervals of the Acts.

Note return to page 143 [27] (27) We two are married, but You two are sped.] This is the Reading only of the Modern Copies, I have chose to read with the older Books. Petruchio, I think verily, would say This: I, and you Lucentio, and you Hortensio, are all under the same Predicament in one Respect, we are all three married; but You Two are finely help'd up with Wives, that don't know the Duty of Obedience.

Note return to page 144 [1] (1) whose Worthiness would stir it up where it wanted, rather than lack it where there is such abundance.] An Opposition of Terms is visibly design'd in this Sentence; tho' the Opposition is not so visible, as the Terms now stand. Wanted and Abundance are the Opposites to one another; but how is lack a Contrast to stir up? The Addition of a single Letter gives it, and the very Sense requires it. Mr. Warburton.

Note return to page 145 [2] (2) If the living be Enemy to the Grief, the Excess makes it soon mortal.] This seems very obscure; but the Addition of a Negative perfectly dispels all the Mist. If the Living be not Enemy &c. Excessive Grief is an Enemy to the Living, says Lafeu: Yes, replies the Countess; and if the Living be not Enemy to the Grief, [i. e. strive to conquer it,] the Excess makes it soon mortal. Mr. Warburton.

Note return to page 146 [3] (3) It is not politick in the Commonwealth of Nature to preserve Virginity. Loss of Virginity is rational Increase; and there was never Virgin got, till Virginity was first lost. The Context seems to me rather to require—national Increase; tho' I have not ventur'd to disturb the Text, as the other Reading will admit of a Meaning.

Note return to page 147 [4] (4) So like a Courtier, no Contempt or Bitterness Were in his Pride or Sharpness; if they were, His Equal had awak'd them. &lblank;] This Passage seems so very incorrectly pointed, that the Author's Meaning is lost in the Carelessness. As the Text and Stops are reform'd, these are most beautiful Lines, and the Sense this.—“He had no Contempt or Bitterness; if he had any thing that look'd like Pride or Sharpness, (of which Qualities Contempt and Bitterness are the Excesses,) his Equal had awaked them, not his Inferior; to whom he scorn'd to discover any thing that bore the Shadow of Pride or Sharpness. Mr. Warburton.

Note return to page 148 [5] (5) For then we wound our Modesty, and make foul the Clearness of our Deservings, when of Our selves we publish them.] This Sentiment our Author has again inculcated in his Troilus and Cressida. The Worthiness of Praise distains his Worth, If He, that's prais'd, himself bring the Praise forth. I won't pretend, that Shakespeare is here treading in the Steps of Æschylus; but that Poet has something in his Agamemnon, which might very well be a Foundation to what our Author has advanced in both these Passages. &lblank; &gras;&grl;&grl;&grap; &gres;&grn;&gra;&gri;&grs;&gria;&grm;&grw;&grst; &grA;&gris;&grn;&gre;&gric;&grn;, &grp;&gra;&grr;&grap; &grasa;&grl;&grl;&grw;&grn; &grx;&grr;&grhg; &grt;&groa;&grd;&grap; &gresa;&grr;&grx;&gre;&grs;&grq;&gra;&gri; &grg;&grea;&grr;&gra;&grst;. But to be prais'd with Honour, is a Tribute That must be paid Us from another's Tongue.

Note return to page 149 [6] (6) Was this fair Face the Cause, quoth She, Why the Grecians sacked Troy? Was this King Priam's Joy?] As the Stanza, that follows, is in alternate Rhyme, and as a Rhyme is here wanting to She in the 1st Verse; 'tis evident, the 3d Line is wanting. The Old Folio's give Us a Part of it; but how to supply the lost Part, was the Question. Mr. Rowe has given us the Fragment honestly, as he found it: but Mr. Pope, rather than to seem founder'd, has sunk it upon Us.—I communicated to my ingenious Friend Mr. Warburton how I found the Passage in the old Books, [Fond done, done, fond,   Was this King Priam's Joy?] And from Him I received that Supplement, which I have given to the Text, and the following Justification of it. “I will first proceed to justify my Sense and Emendation, and then account for the Corruption. In the first place, 'tis plain, the last Line should not have been read with an Interrogation: For was Helen King Priam's Joy? No, surely, she was not. Who then? Why, the Historians tell us it was Paris, who was his Favourite Son. And how natural was it, when this She (whoever She was,) had said, Was this the Face that ruin'd Troy? to fall into a moral Reflection, and say, What a fond Deed was this! Priam's Misery proceeded from him, that was his only Joy. This is exactly agreeable to the Simplicity of those antient Songs: as the Phrase, For Paris he—is to their Mode of Locution. So far we have the Genius of the Ballad, History, and the Context, to make it probable. An Observation upon the ensuing Stanza may make it clear to Demonstration.” I will only subjoin, in Confirmation of my Friend's ingenious Conjecture, that, in The Maid in the Mill by Beaumont and Fletcher, I find a scrap of another old Ballad upon the same Subject, most nearly corresponding with ours. And here fair Paris comes, The hopeful Youth of Troy; Queen Hecuba's darling Son, King Priam's only Joy.

Note return to page 150 [7] (7) With That she sighed, as she stood, And gave this Sentence then; Among Nine bad if One be good, There's yet One good in Ten.] This 2d Stanza is a Joke turn'd upon the Women: a Confession that there was One good in Ten. Upon which the Countess says, “What! One good in ten! You corrupt the Song, Sirrah”.—This shews, that the Sense of the Song was, one bad only in ten; or, nine good in ten: and this clears up the Mystery. The 2d Stanza was certainly thus in the Old Ballad. With that She sighed as She stood,   And gave this Sentence then; If one be bad amongst nine good,   There's but one bad in ten. A visible Continuation of the Thought, as amended, in the latter Part of the first Stanza: and it relates to the ten Sons of Priam, who all behaved themselves well except this Paris. But why Priam's ten Sons, may it not be ask'd, when universal Tradition has given him fifty? To This I reply, that, at the time of this unfortunate Part of his Reign, he had but ten. To these this Songster alludes. They were, Agathon, Antiphon, Deiphobus, Dius, Hector, Helenus, Hippotheus, Panimon, Paris and Polites. It seems particularly humourous in the Clown, (and suiting with the Licence of his Character, as a Jester;) all at once to deprave the Text of the Ballad, and turn it to a Sarcasm upon the Women. Mr. Warburton.

Note return to page 151 [8] (8) Fortune, she said, was no Goddess, &c. Love, no God, &c. complain'd against the Queen of Virgins, &c.] This Passage stands thus in the old Copies. Love, no God, that would not extend his Might only where Qualities were level, Queen of Virgins, that would suffer her poor Knight, &c. 'Tis evident to every sensible Reader that something must have flip'd out here, by which the Meaning of the Context is render'd defective. There are no Traces for the Words, [complain'd against the] which I take to have been first conjecturally supply'd by Mr. Rowe. But the Form of the Sentence is intirely alter'd by their Insertion; and they, at best, make but a Botch. The Steward is speaking in the very Words he overheard of the Young Lady; Fortune was no Goddess, she said, for one reason; Love no God, for another;—what could She then more naturally subjoin, than as I have amended in the Text? Diana no Queen of Virgins, that would suffer her poor Knight to be surpriz'd without Rescue, &c. For in poetical History Diana was as well known to preside over Chastity, as Cupid over Love, or Fortune over the Change or Regulation of our Circumstances.

Note return to page 152 [9] (9) &lblank; Now I see The mys'try of your loveliness, and find Your salt tears head: &lblank;] The Mystery of her Loveliness is beyond my Comprehension: The old Countess is saying nothing ironical, nothing taunting, or in Reproach, that this Word should find a place here; which it could not, unless sarcastically employ'd, and with some Spleen. I dare warrant, the Poet meant, his old Lady should say no more than This: “I now find the Mystery of your creeping into Corners, and weeping, and pining in secret”. For this Reason I have amended the Text, Loneliness. The Steward, in the foregoing Scene, where he gives the Countess Intelligence of Helen's Behaviour says; Alone She was, and did communicate to herself her own Words to her own Ears. The Author has used the Word Loneliness, to signify a Person's being alone, again in his Hamlet. We will bestow our selves: read on this book; That shew of such an Exercise may colour Your Loneliness.

Note return to page 153 [10] (10) &lblank; let higher Italy (Those bated, that inherit but the Fall Of the last Monarchy;) see, &c.] This seems to me One of the very obscure Passages of Shakespeare, and which therefore may very well demand Explanation. Italy, at the time of this Scene, was under three very different Tenures. The Emperour, as Successor of the Roman Emperours, had one Part; the Pope, by a pretended Donation from Constantine, another; and the Third was compos'd of free States. Now by the last Monarchy is meant the Roman, the Last of the four general Monarchies. Upon the Fall of this Monarchy, in the Scramble, several Cities set up for Themselves, and became free States: Now these might be said properly to inherit the Fall of the Monarchy. But the Emperour could not be said to inherit the Fall of the Monarchy, any more than a Son, who inherits an impair'd Estate, could be said to inherit the Fall of his Father's Estate: Tho' those, who had defrauded the Father, might be said to inherit the Fall of his Estate. Much less could the Pope, by a Donation in the Times of its Duration, be said to do so, This being premised, now to the Sense. The King says, Higher Italy;— giving it the Rank of Preference to France; but he corrects himself and says, I except Those from that Precedency, who only inherit the Fall of the last Monarchy; as all the little petty States; for instance, Florence to whom these Voluntiers were going. As if he had said, I give the Place of Honour to the Emperour and the Pope, but not to the free States. All here is clear; and 'tis exactly Shakespeare's Manner, who lov'd to shew his Reading on such Occasions. Mr. Warburton.

Note return to page 154 [11] (11) You shall find in the Regiment of the Spinii one Captain Spurio, his Cicatrice, with an Emblem of War here on his sinister Cheek;] It is surprizing, None of the Editors could see that a slight Transposition was absolutely necessary here, when there is not common Sense in the Passage, as it stands without such Transposition. Parolles only means, “You shall find one Captain Spurio in the Camp with a Scar on his left Cheek, a Mark of War that my Sword gave him.” Our Poet has employ'd this Word, to signify Scar, in other of his Plays: So, before, in As You like it; &lblank; lean but upon a Rush, The Cicatrice and capable Impressure Thy Palm some moment keeps: &lblank; And in Hamlet; Since yet thy Cicatrice looks raw and red After the Danish Sword; &lblank;

Note return to page 155 [12] (12) I have seen a Medecine,] Lafeu does not mean that he has seen a Remedy, but a Person bringing such Remedy. I therefore imagine, our Author used the French Word, Medecin, i. e. a Physician; this agrees with what he subjoins immediately in Reply to the King. Why, Doctor-She;—and—write to her a Love-line.

Note return to page 156 [13] (13) Youth, beauty, wisdom, courage, all &c.] This Verse is too short by a Foot; and apparently some Dissyllable is drop'd out by Mischance. Mr. Warburton concurr'd with me in Conjecture to supply the Verse thus: Youth, beauty, wisdom, courage, virtue, all &c. Helena had laid a particular Stress on her maiden Reputation; and the King, afterwards, when he comes to speak of her to Bertram, says; &lblank; If she be All that is virtuous, (save, What thou dislik'st, A poor Physician's Daughter;) thou dislik'st. Of Virtue for her name: &lblank;

Note return to page 157 [14] (14) King. Make thy Demand. Hel. But will you make it even? King. Ay, by my Scepter and my hopes of help.] The King could have but a very slight Hope of Help from her, scarce enough to swear by: and therefore Helen might suspect, he meant to equivocate with her. Besides, observe, the greatest Part of the Scene is strictly in Rhyme: and there is no Shadow of Reason why it should be interrupted here. I rather imagine, the Poet wrote; Ay, by my Scepter, and my Hopes of Heav'n. Dr. Thirlby.

Note return to page 158 [15] (15) They say Miracles are past, and we have our Philosophical Persons to make modern and familiar things supernatural and causeless.] This, as it has hitherto been pointed, is directly opposite to our Poet's, and his Speaker's, Meaning. As I have stop'd it, the Sense quadrates with the Context: and, surely, it is one unalterable Property of Philosophy, to make seeming strange and preternatural Phænomena familiar, and reducible to Cause and Reason.

Note return to page 159 [16] (16) Why, your Dolphin is not lustier:] I have thought it very probable, that, as 'tis a French Man speaks, and as 'tis the French King he is speaking of, the Poet might have wrote, Why, your Dauphin is not lustier: i. e. the King is as hale and hearty as the Prince his Son. And that the King in this Play is supposed to have a Son, is plain from what he says to Bertram in the first Act. &lblank; Wellcome, Count, My Son's no dearer. Besides, Dauphin in the old Impressions is constantly spelt as the Fish, Dolphin. But then considering on the other hand, As sound as a Roach, As whole as a Fish, are proverbial Expressions: and considering too that our Author elsewhere makes the Dolphin an Instance or Emblem of Lustihood and Activity, &lblank; his Delights Were Dolphin-like, they shew'd his Back above The Element they liv'd in, Anto. and Cleop. I have not thought proper to disturb the Text. Nor would, indeed, the Sense of the Passage be affected by any Alteration.

Note return to page 160 [17] (17) Thanks, Sir; all the rest are mute.] All the rest are mute? She had spoke to but One yet. This is a nonsensical Alteration of Mr. Pope's from the old Copies, in which, I doubt not, but he thought him self very wise and sagacious. The genuine Reading is, as I have restor'd in the Text; &lblank; All the rest is mute. (i. e. as in Hamlet,—The rest is silence) and the Meaning, this. Helena finding a favourable Answer from the first Gallant she address'd to, but not designing to fix her Choice there, civilly says, I thank you, Sir; That is All I have to advance. I am oblig'd to You for your Complyance; but my Eye and Heart have another Aim.

Note return to page 161 [18] (18) 4 Lord. Fair One, I think not so. Laf. There's one Grape yet, I am sure my Father drunk Wine; but if Thou be'est not an Ass, I am a Youth of fourteen: I have known thee already.] Surely, This is most incongruent Stuff. Lafeu is angry with the other Noblemen, for giving Helena the Repulse: and is He angry too, and think the fourth Nobleman an Ass, because he's for embracing the Match? The Whole, certainly, can't be the Speech of one Mouth. As I have divided the Speech, I think, Clearness and Humour are restor'd. And if Parolles were not a little pert and impertinent here to Lafeu, why should he say, he had found him out already? Or, why should he quarrel with him in the very next Scene?

Note return to page 162 [19] (19) From lowest Place, whence virtuous Things proceed, The Place is dignified by th' Doers Deed.] 'Tis strange, that None of the Editors could perceive, that both the Sentiment and Grammar are defective here. The easy Correction, which I have given, was prescribed to me by the ingenious Dr. Thirlby.

Note return to page 163 [20] (20) &lblank; Honours best thrive, When rather from our Acts we them derive Than our Forgoers.] How nearly does this Sentiment of our Author's resemble the following Passage of Juvenal! Ergò ut miremur Te, non tua, primùm aliquid da Quod possim titulis incidere, præter Honores Quos illis damus, & dedimus, quibus omnia debes. Sat. VIII. ver. 68.

Note return to page 164 [21] (21) &lblank; and as oft is dumb, Where Dust and damn'd Oblivion is the Tomb. Of honour'd Bones, indeed, what should be said?] This is such pretty Stuff, indeed, as is only worthy of its accurate Editors! The Transposition of an innocent Stop, or two, is a Task above their Diligence: especially, if common Sense is to be the Result of it. The Regulation, I have given, must strike every Reader so at first Glance, that it needs not a Word in Confirmation.

Note return to page 165 [22] (22) My Honour's at the Stake; which to defeat I must produce my Pow'r.] The poor King of France is again made a Man of Gotham, by our unmerciful Editors: What they make him say, is mere mock-reasoning. The Passage must either be restor'd, as I have conjecturally corrected; or else the King must be suppos'd to break off abruptly from What he was going to say, and determine that he will interpose his Authority. As thus; My Honour's at the Stake; which to defeat, &lblank; —I must produce my Pow'r.

Note return to page 166 [23] (23) Do not plunge thy self too far in anger, lest thou hasten thy Tryal: which is, Lord have Mercy on thee for a hen:] Mr. Rowe and Mr. Pope, either by Inadvertence, or some other Fatality, have blunder'd this Passage into stark Nonsense. I have restor'd the Reading of the old Folio, and by subjoining the Mark to shew a Break is necessary, have retriev'd the Poet's genuine Sense: &lblank; which if &lblank; Lord have Mercy on thee for a hen! The Sequel of the Sentence is imply'd, not express'd: This Figure the Rhetoricians have call'd &grA;&grap;&grp;&gro;&grs;&gri;&grwa;&grp;&grh;&grs;&gri;&grst;. A remarkable Instance we have of it in the first Book of Virgil's Æneis. Quos Ego—sed motos præstat componere Fluctus. So likewise in Terence; Mala mens, malus animus; quem quidèm Ego si sensero, &lblank; Sed quid opus est verbis? Andr. Act. I. Sc. I. But I shall have Occasion to remark again upon It, when I come to King Lear.

Note return to page 167 [24] (24) Hel. In every Thing I wait upon his Will. Par. I shall report it so. Hel. I pray you come, Sirrah.] The Pointing of Helen's last short Speech stands thus absurdly, through all the Editions. My Regulation restores the true Meaning. Upon Parolles saying, He shall report it so; Helena is intended to reply, I pray you, do so; and then, turning to the Clown, She more familiarly addresses him, and bids him come along with her.

Note return to page 168 [25] (25) You have made shift to run into't, boots and spurs and all, like him that leapt into the Custard.] This odd Allusion is not introduc'd, without a View to Satire. It was a Foolery practis'd at City-Entertainments, whilst the Jester or Zany was in Vogue, for him to jump into a large deep Custard; set for the Purpose, to set on a Quantity of barren Spectators to laugh; as our Poet says in his Hamlet. I do not advance this without some Authority: and a Quotation from Ben Jonson will very well explain it. He ne'er will be admitted there, where Vennor comes. He may, perchance, in Tail of a Sherriff's Dinner, Skip with a Rhyme o'th' Table, from New-Nothing; And take his Almaine Leap into a Custard, Shall make my Lady Mayoress and her Sisters Laugh all their Hoods over their Shoulders.— Devil's an Ass, Act I. Sc. I.

Note return to page 169 [26] (26) Hel. I shall not break your Bidding, good my Lord: Where are my other Men? Monsieur, farewell. Ber. Go thou toward home, where I will never come,] What other Men is Helen here enquiring after? Or who is She suppos'd to ask for them? The old Countess, 'tis certain, did not send her to the Court without some Attendants: but neither the Clown, nor any of her Retinue, are now upon the Stage: I have not disturb'd the Text, tho', I suspect, the Lines should be thus plac'd, and pointed. Ber. Where are my other Men, Monsieur?—[To Par.] Farewell: [To Hel. who goes out. Go Thou towards home,—where I &c. Bertram, observing Helen to linger fondly, and wanting to shift her off, puts on a Shew of Haste, asks Parolles for his Servants, and then gives his Wife an abrupt Dismission.

Note return to page 170 [27] (27) Indeed, good Lady, the Fellow has a deal of That too much, which holds him much to have.] This is somewhat obscure in the Expression; but the Meaning must be this. The Fellow, indeed, has a deal too much Vanity, Lying, boasting; but it holds him much to have such Qualities; i. e. it stands him in great Stead, is of great Service to him, and what he cannot do without. For these were the Arts that Parolles used to get into Bertram's Favour; and when Once they were discover'd, He was set a-drift, and undone.

Note return to page 171 [28] (28) Their Promises, Enticements, Oaths, Tokens, and all these Engines of Lust, are not the Things they go under;] i. e. They are not in Reality so true and sincere, as in Appearance they seem to be. This will be best explain'd by an other Passage in Hamlet, where Polonius is counselling his Daughter. &lblank; I do know, When the Blood burns, how prodigal the Soul Lends the Tongue vows. These Blazes, oh, my Daughter, Giving more Light than Heat, extinct in Both. Ev'n in their Promise as it is a making, You must not take for Fire. &lblank; In few, Ophelia, Do not believe his Vows, for they are Brokers Not of that Dye which their Investments shew, But meer Implorers of unholy Suits, Breathing, like sanctified and holy Bawds, The better to beguile.

Note return to page 172 [29] (29) &lblank; Yond's That same Fellow, That leads him to these Places.] What Places? He did not lead him to be General of Horse under the Duke of Florence, sure. Nor have they been talking of Brothels; or, indeed, any particular Locality. I make no Question, but our Author wrote; That leads him to these Paces. i. e. to such irregular Steps, to Courses of Debauchery, to not loving his Wife.

Note return to page 173 [30] (30) When your Lordship sees the bottom of his Success in't, and to what Metal this Counterfeit Lump of Ours will be melted, if you give him not John Drum's Entertainment, your Inclining cannot be remov'd.] I conjectur'd,—this counterfeit Lump of Oare, when I publish'd my Shakespeare restor'd: Thus it bears a Consonancy with the other Terms accompanying, (viz. Metal, Lump, and melted) and helps the Propriety of the Poet's Thought: For so one Metaphor is kept up, and all the Words are proper and suitable to it. But, what is the Meaning of John Drum's Entertainment? Lafeu several. Times afterwards calls Parolles, Tom Drum. But the Difference of the Christian Name will make None in the Explanation. There is an old Motley Interlude, (printed in 1601) call'd, Jack Drum's Entertainment; Or, the Comedy of Pasquil and Katharine. In This, Jack Drum is a Servant of Intrigue, who is ever aiming at Projects, and always foil'd, and given the Drop. And there is another old piece (publish'd in 1627) call'd, Apollo shroving, in which I find these Expressions. Thuriger. Thou Lozel, hath Slug infected you? Why do you give such kind Entertainment to that Cobweb? Scopas. It shall have Tom Drum's Entertainment; a Flap with a Fox-tail. But Both these Pieces are, perhaps, too late in Time, to come to the Assistance of our Author: so we must look a little higher. What is said here to Bertram is to this Effect. “My Lord, as you have taken this Fellow [Parolles] into so near a Confidence, if, upon his being found a Counterfeit, you don't casheer him from your Favour, then your Attachment is not to be remov'd”.—I'll now subjoin a Quotation from Holingshed, (of whose Books Shakespeare was a most diligent Reader) which will pretty well ascertain Drum's History. This Chronologer, in his Description of Ireland, speaking of Patrick Scarsefield, (Mayor of Dublin in the Year 1551) and of his extravagant Hospitality, subjoins, that no Guest had ever a cold or forbidding Look from any Part of his Family: so that his Porter, or any other officer, durst not, for both his Ears, give the simplest Man, that resorted to his house, Tom Drum's Entertainment, which is, to hale a Man in by the Head, and thrust him out by both the Shoulders.

Note return to page 174 [31] (31) Tongue, I must put You into a Butterwoman's Mouth, and buy myself another of Bajazet's Mule, if you prattle me into these Perils.] Why of Bajazet's Mule, any more than any other Mule? Is there any particular Conceit, any Story on Record, by which that Emperour's Mule is signaliz'd? If there be, I freely own my Ignorance. Tho' I have not alter'd the Text, Mr. Warburton concurr'd with me in thinking that the Poet probably wrote; &lblank; and buy myself another of Bajazet's Mute, i. e. of a Turkish Mute. So in Henry V. Either our History shall with full Mouth Speak freely of our Acts; or else our Grave, Like Turkish Mute, shall have a tongueless Mouth, &c. Besides, as my Friend observ'd to me, the Antithesis between a Butter-woman and a Mute is tolerably well. If there be any difficulty remains, it is to know, why the Poet has chosen to say, Bajazet's Mute. To this it may be answer'd, that Bajazet the Great, (who was at last overthrown by Tamerlane;) by his prodigious Exploits becoming very famous, for a long time after, amongst us Europeans, his Successors were call'd by his Name, when they were spoke of.

Note return to page 175 [32] (32) &lblank; Since Frenchmen are so braid, Marry that will, I'll live and dye a Maid.] This is certainly the most cruel Resolution, that ever poor Wench made. What! because Frenchmen were false, She, that was an Italian, would marry Nobody. But it is plain, as refin'd as this Reasoning is, her Mother did not understand the Delicacy of the Conclusion; for afterwards She comes into Helen's Project, on the Promise of a good round Dow'ry of 3000 Crowns, to help her Daughter to a Husband. In short, the Text is, without all Question, corrupted; and we should read it thus. &lblank; Since Frenchmen are so braid, Marry 'em that will, I'de live and dye a Maid. i. e. since Frenchmen prove so crooked and perverse in their Manners, let who will marry them, I had rather live and die a Maid than venture upon them. This she says with a View to Helen, who appear'd so fond of her Husband, and went thro' so many Difficulties to obtain him. I dare say, the fair Sex will think this Emendation most agreeable to the Rules of Logic, as well as to the less erring Dictates of Nature. Mr. Warburton.

Note return to page 176 [33] (33) Men are to mell with, boys are not to kiss.] All the Editors have obtruded a new Maxim upon us here, that Boys are not to kiss.—Livia, in Beaumont and Fletcher's Tamer tam'd, is of a quite opposite Opinion. For Boys were made for Nothing but dry Kisses. And our Poet's Thought, I am perswaded, went to the same Tune; that Boys are fit only to kiss; Men to mingle with, and give more substantial Pleasures. To mell, is deriv'd from the French Word, mêler; to mingle. I made this Correction when I publish'd my Shakespeare restor'd; and Mr. Pope has thought fit to adopt it in his last Impression.

Note return to page 177 [34] (34) Our Waggon is prepar'd, and Time revives us;] The Word revives conveys so little Idea of Sense here, that it seems very liable to Suspicion. How could Time revive these travelling Adventurers? Helen could not have so poor a Thought as to mean, “tho' we were tir'd last Night, yet Repose has given us fresh Vigour, and now Time revives us for a new Fatigue.” Can It then have this Meaning? The Consequences of our Enterprize, and the happy Issue that may crown it in Time, revive our Spirits, and animate us to a chearful Prosecution.—Mr. Warburton very reasonably conjectures, that We should read, &lblank; and Time revyes us; i. e. looks us in the Face, calls upon us to hasten;

Note return to page 178 [35] (35) All's well, that ends well; still that finds the Crown;] What finds? There is no Substantive in the preceding Branch of the Sentence to answer to this Relative. But this is the Reading only of Mr. Rowe and Mr. Pope; I have restor'd the genuine Text from the first Folio. Our Author is alluding to the Latin proverbial Gnome; Finis coronat opus. And he elsewhere uses the fine, to signify, the End, the Issue. So Benedick, in Much Ado about Nothing. &lblank; and the fine is, (for the Which I may go the finer,) I will live a Batchellor.

Note return to page 179 [36] (36) But I am now, Sir, muddied in Fortune's Mood, and smell somewhat strong of her strong Displeasure.] Fortune's Mood is, without Question, good Sense, and very proper: and yet I verily believe, the Poet wrote as I have restor'd in the Text; &lblank; in Fortune's Moat: because the Clown in the very next Speech replies, I will henceforth eat no Fish of Fortune's buttering, and again, when he comes to repeat Parolles's Petition to Lafeu, &lblank; that hath fall'n into the unclean Fishpond of her Displeasure, and, as he says, is muddied withal. And again, Pray you, Sir, use the Carp as you may, &c. In all which Places, 'tis obvious, a Moat, or Pond, is the Allusion. Besides, Parolles smelling strong, as he says, of Fortune's strong Displeasure, carries on the same Image: For as the Moats round old Seats were always replenish'd with Fish, so the Clown's joke of holding his Nose, we may presume, preceeded from This &lblank; because la Chambre basse was always over the Mout: and therefore the Clown humourously says, when Parolles is pressing him to deliver his Letter to Lord Lafeu.—Foh! pr'ythee, stand away: A Paper from Fortune's Closestool, to give to a Nobleman!

Note return to page 180 [37] (37) I do pity his Distress in my Smiles of Comfort,] This very homourous Passage my Friend Mr. Warburton rescued from Nonsense most happily, by the Insertion of a single Letter, in the Manner I have reform'd the Text. These Similes of Comfort are ironically meant by the Clown; as much as to say, you may perceive, how much I think he deserves Comfort, by my calling him Fortune's Cat, Carp, rascally Knave, &c.

Note return to page 181 [38] (38) &lblank; our Esteem Was made much poorer by it: &lblank;] What's the Meaning of the King's Esteem being made poorer by the Loss of Helen? I think, it can only be understood in one Sense; and That Sense won't carry Water: i. e. We suffer'd in our Estimation by her Loss. But how so? Did the King contribute to her Misfortunes? Nothing like it. Or did he not do all in his Power to prevent them? Yes; he married Bertram to her. We must certainly read therefore; We lost a Jewel of her; our Estate Was made much poorer by it: That's the certain Consequence of any one's losing a Jewel, for their Estate to be made proportionably poorer according to the Value of the Loss. Mr. Warburton.

Note return to page 182 [39] (39) Natural Rebellion, done i'th' blade of Youth,] If this Reading be genuine, the Metaphor must be from any Grain, or Plant, taking Fire: but, I own, it seems more in Shakespeare's way of Thinking to suppose He wrote; Natural Rebellion, done i'th' blaze of Youth, i. e. in the Fervour, Flame, &c. So He has express'd himself, upon a like Occasion, in Hamlet, &lblank; I do know, When the Blood burns, how prodigal the Soul Lends the Tongue Vows. These Blazes, O my Daughter, &c. And so, again, in his Troilus and Cressida; For Hector, in his Blaze of Wrath, subscribes To tender Objects.—

Note return to page 183 [40] (40) Which better than the first, O dear Heav'n, bless, Or, e'er they meet, in me, O Nature, cease!] I have ventur'd, against the Authority of the printed Copies, to prefix the Countess's Name to these two Lines. The King appears, indeed, to be a Favourer of Bertram: but if Bertram should make a bad Husband the second Time, why should it give the King such mortal Pangs? A fond and disappointed Mother might reasonably not desire to live to see such a Day: and from her the Wish of dying, rather than to behold it, comes with Propriety.

Note return to page 184 [41] (41) &lblank; noble She was, and thought I stood engag'd; &lblank;] I don't understand this Reading; if We are to understand, that She thought Bertram engag'd to her in Affection, insoar'd by her Charms, this Meaning is too obscurely express'd. The Context rather makes me believe, that the Poet wrote, &lblank; noble She was, and thought I stood ungag'd; i. e. unengaged: neither my Heart, nor Person, dispos'd of.

Note return to page 185 [42] (42) Conferr'd by Testament to th' subsequent Issue,] This is only the Reading, I think, of the last Editor. I might say, This is Mr. Pope's Ear is a Verse,—to return him one of his Civilities: but I'll content myself with observing, that all the genuine Copies read; Conferr'd by Testament to th' sequent Issue, So, before, in this Play; Indeed, your O Lord, Sir,—is very frequent to your whipping. So, in Troilus and Cressida; But be thou true, say I, to fashion in My sequent Protestation: So, in Hamlet. &lblank; now, the next Day Was our Sea-fight; and What to this was sequent, Thou know'st already. And in many other Instances, that might be quoted.

Note return to page 186 [1] (1) &lblank; so full of Shapes is Fancy, That it alone is high fantastical.] Shakespeare has made his Polonius (a Character, which he design'd should be receiv'd with Laughter) say; &lblank; for to define true Madness, What is't, but to be Nothing else but mad, But there is no Parity of Reason why his Duke here, who is altogether serious, and moralizing on the Qualities of Love, should tell us, that Fancy is alone the most fantastical Thing imaginable. I am persuaded, the Alteration of is into in has given us the Poet's genuine Meaning; that Love is most fantastical, in being so variable in its Fancies. And Shakespeare every where supposes this to be the distinguishing Characteristic of this Passion. In his As You like it, where What it is to be in Love is defin'd, amongst other Marks we have This; It is to be all made of Fantasie. And in the same Play, Rosalind, speaking of her Lover, says; &lblank; If I could meet that Fancy-monger, I would give him some good Counsel, for he seems to have the Quotidian of Love upon him. And a hundred other Passages might be quoted, did the Matter require any Proof. Mr. Warburton.

Note return to page 187 [2] (2) Sir And. &lblank; O, had I but follow'd the Arts! Sir To. Then had'st thou had an excellent head of Hair. Sir And. Why, would That have mended my Hair! Sir To. Past Question; for thou seest it will not cool my Nature.] Prodigious Sagacity! and yet thus it has pass'd down thro' all the printed Copies. We cannot enough admire that happy Indolence of Mr. Pope, which can acquiesce in transmitting to us such Stuff for genuine Sense and Argument. The Dialogue is of a very light Strain, 'tis certain, betwixt two foolish Knights: but yet I would be very glad to know, methinks, what Sir Andrew's following the Arts, or his Hair being mended, could have to do with the cooling, or nor cooling, Sir Toby's Nature. But my Emendation clears up all this Absurdity: And the Context is an unexceptionable Confirmation. Sir And. But it becomes me well enough, does't not? Sir To. Excellent! It hangs like Flax on a Distaff, &c. I cannot pass over the remarkable Conundrum betwixt Sir Andrew wishing he had follow'd the Arts, and Sir Toby's Application of This to the using Art in improving his Hair: because I would observe, what Variety and what a Contrast of Character the Poet has preserv'd in this Pair of ridiculous Knights. Sir Toby has moderate natural Parts, and a smattering of Education; which makes him always to be running his Wit, and gives him a Predominance over the other. Sir Andrew is a Blockhead by Nature, and unimprov'd by any Acquirements from Art; and so is made the very Anvil to Imposition and Ridicule.

Note return to page 188 [3] (3) Look you, Sir, such a one I was this present: is't not well done?] This is Nonsense. My Correction, I think, clears all up, and gives the Expression an Air of Gallantry. Viola presies to see Olivia's Face: The other at length pulls off her Veil, and says; We will draw the Curtain, and shew you the Picture. I wear this Complection to day, I may wear another to morrow; jocularly intimating, that She painted. The Other, vext at the Jeast, says, “Excellently done, if God did all.” Perhaps, it may be true, what you say in jeast: otherwise 'tis an excellent Face. 'Tis in Grain, &c. replies Olivia. Mr. Warburton.

Note return to page 189 [4] (4) Hollow your Name to the reverberate Hills,] I have, against the Authority of the printed Copies, corrected, reverberant. The Adjective Passive makes Nonsense.

Note return to page 190 [5] (5) By my Troth, the Fool has an excellent Breast.] I have been advis'd to read, Breath, here. But the Text is certainly, right without any Alteration. The Allusion is not to the Clown having a white Skin, but a good Power in singing. It was a Phrase in Vogue, in our Author's Time. In a Spanish Vocabulary, printed in Queen Elizabeth's Reign, Aquel tiene linda box is thus expounded; He has a good Breast; i. e. as we now say, good Lungs, to hold out in singing. So Ben Jonson, in his Masque of Gipsies metamorphos'd; An excellent Song, and a sweet Songster, and would have done rarely in a Cage, with a Dish of Water and Hempseed; fine Breast of his own! And Beaumont and Fletcher, in their Pilgrim; Pray you, stay a little: Let's hear him sing, h'as a fine Breast.

Note return to page 191 [6] (6) I sent thee six pence for thy Lemon, had'st it.] But the Clown was neither Pantler, nor Butler. The Poet's Word was certainly mistaken by the Ignorance of the Printers. I have restor'd, leman, i. e. I sent thee Sixpence to spend on thy Mistress. So, in Merry Wives of Windsor; &lblank; as jealous as Ford, that search'd a hollow Wallnut for his Wife's Leman; 2 Henr. IV. A Cup of Wine, that's brisk and fine, And drink unto the Leman mine; The Word was used indifferently, to signify, either a Mistress, or Gallant; as the Word, Lover, stood for Both Sexes.

Note return to page 192 [7] (7) Shall we rowze the Night-owl in a Catch, that will draw three Souls out of one Weaver?] i. e. by which he shall be thrice transported, or equally transported with every one of us three Singers. As for drawing out the Soul, this is a Phrase, which, as it seems, our Author delights to use, to express the ravishing Power of Musick. Much Ado about Nothing. Now is his Soul ravish'd. Is it not strange that Sheeps' Guts should hale Souls out of Men's Bodies, &c. But, perhaps, by mentioning three Souls, Sir Toby may be hinting at the Peripatetic Philosophy (the Learning then in Vogue,) which very liberally gave to every Man three Souls, the Vegetative or Plastic, the Animal, and the Rational. I would not imagine that Shakespeare had no further Drift in this, than either to expose that System, or make a Parade of his own Knowledge. Those, who are conversant in him, can't but observe, that he takes Delight on all Occasions to display the great Power and Force of Musick. And here, in the most extraordinary Manner, he conveys to Us the Idea of that Power in its full Extent as we receive it from poetical Relations. For in speaking of its Power, to draw the three Souls out of a Man, viz. the Vegetative or Plastic, the Sensitive or Animal, and the Rational or Human, he would insinuate to us all those surprizing Effects of Musick that the Antients speak of, when they tell us of Amphion who mov'd Stones and Trees; Orpheus and Arion, who tam'd the Savages; and Timotheus, who govern'd as he pleas'd the Passions of his human Auditors, by the irresistible Force of Harmony.—So noble and extraordinary an Observation has our Author cover'd under the Ribaldry of a fantastick Character. Mr. Warburton.

Note return to page 193 [8] (8) I would have Men of such Constancy put to Sea, that their Business might be every where, and their Intent every where, &c.] Mr. Warburton suspects this Place to have suffer'd under the Indolence of Editors: and therefore, tho' I have not disturb'd the Text, I think it very proper to subjoin his Emendation, and Reasons for it. “Not only the Antithesis (which is no mean Consideration, when the Question is on Shakespeare's Writings;) but the Sense requires, we should read; that their Business might be every where, and their Intent no where, &c. “Because, a Man, that suffers himself to run with every Wind, and so makes his Business every where, cannot be said to have any Intent; for that Word signifies a Determination of the Mind to Something. Besides, the Conclusion, of making a good Voyage out of Nothing,— evidently directs to this Emendation.

Note return to page 194 [9] (9) &lblank; She pined in Thought; And, with a green and yellow Melancholy, She sate like Patience on a Monument, Smiling at Grief.] This very fine Image, which has been so universally applauded, it is not impossible but our Author might originally have borrow'd from Chaucer in his Assembly of Foules. And her besidis wonder discretlie, Dame Pacience ysittinge there I fonde With Facé pale, upon an hill of sonde. If he was indebted, however, for the first rude Draught, how amply has he repaid that Debt in heightning the Picture! How much does the green and yellow Melancholy transcend the Old Bard's Face pale; the Monument, his Hill of Sand; and what an additional Beauty is, smiling at Grief, for which there are no Ground, nor Traces, in the Original! Our Author has given us this fine Picture again in another Place, but, to shew the Power and Extent of his Genius, with Features and Lineaments varied. &lblank; yet Thou Do'st look like Patience, gazing on Kings 'Graves, And smiling [harsh] Extremity out of Act. Pericles, Prince of Tyre. This absurd Old Play, I have elsewhere taken Notice, was not entirely of our Author's penning; but he has honour'd it with a Number of Master-Touches, so peculiar to himself, that a knowing Reader may with Ease and Certainty distinguish the Traces of his Pencil.

Note return to page 195 [10] (10) A Sentence is but a Cheveril glove to a good Wit;] Mr. Pope, in his first Edition of Shakespeare, to shew the World the Depth of his Learning, inform'd us in a Gloss that Cheveril meant tender from Cheverillus, a young Cock, a Chick. But I never heard yet of any Glove or Leather made of a Cockrel's Skin; and believe, it will hardly come into Experiment in Mr. Pope's or my Time. The Etymology is therefore to be disputed. I shew'd in my Shakespeare Restor'd, that Cheveril Leather is made of the Skin of a Kid, or Goat: which was call'd by the Latines, Caprillus; by the Italians, Ciaverello; and by the French, Chevereul: from which last, our Word Cheveril is immediately deduced. Mr. Pope in his last Edition has suffer'd himself to be inform'd; and embraced these Derivations.

Note return to page 196 [11] (11) Cressida was a Beggar.] The Poet in this Circumstance undoubtedly had his Eye on Chaucer's Testament of Creseide. Cupid, to revenge her Prophanation against his Deity, calls in the planetary Gods to assist him in his Vengeance. They instantly turn her Mirth into Melancholy, her Health into Sickness, her Beauty into Deformity, and in the End pronounce this Sentence upon her; Thus shalt thou go begging fro hous to hous, With Cuppe and Clappir like a Lazarous.

Note return to page 197 [12] (12) Sir Tob. Save you, Gentleman. Vio. And you, Sir. Sir And. Dieu vous guarde, Monsieur. Vio. Et vous aussi; votre Serviteur. Sir And. I hope, Sir, you are; and I am yours.] I have ventur'd to make the two Knights change Speeches in this Dialogue with Viola; and, I think, not without good Reason. It were a preposterous Forgetfulness in the Poet, and out of all Probability, to make Sir Andrew not only speak French, but understand what is said to him in it, who in the First Act did not know the English of Pourquoy.

Note return to page 198 [13] (13) Taunt him with the Licence of Ink; if thou thou'st him some thrice,] There is no Doubt, I think, but this Passage is One of those, in which our Author intended to shew his Respect for Sir Walter Raleigh, and a Detestation of the Virulence of his Prosecutors. The Words, quoted, seem to me directly levell'd at the Attorney General Coke, who, in the Trial of Sir Walter, attack'd him with all the following indecent Expressions.— “All that he did was by thy Instigation, thou Viper; for I thou thee, thou Traytor!” (Here, by the way, are the Poet's three thou's.) “You are an odious Man.”—“Is he base? I return it into thy Throat, on his behalfe.”—“O damnable Atheist!”— “Thou art a Monster; thou hast an English Face, but a Spanish Heart.”—“Thou hast a Spanish Heart, and thyself art a Spider of Hell.”—“Go to, I will lay thee on thy Back for the confident'st Traytor that ever came at a Bar,” &c. Is not here all the Licence of Tongue, which the Poet satyrically prescribes to Sir Andrew's Ink? And how mean an Opinion Shakespeare had of these petulant Invectives, is pretty evident from his Close of this Speech; Let there be Gall enough in thy Ink, tho' thou write it with a Goose-pen, no Matter.—A keener Lash at the Attorney for a Fool, than all the Contumelies the Attorney threw at the Prisoner as a suppos'd Traytor!

Note return to page 199 [14] (14) I can no other Answer make but Thanks, And thanks: and ever-oft good Turns Are shuffled off with such uncurrent Pay;] It must be obvious to every Reader, who has the least Knowledge in Versification, that the second Line is too short by a whole Foot; however the Editors have indolently pass'd it over without Suspicion. Then, who ever heard of this goodly double Adverb, ever-oft, which seems to have as much Propriety as, always-sometimes? As I have restor'd the Passage, it is very much in our Author's Manner, and Mode of Expression. So, in Cymbeline; —Since when I have been Debtor to You for Courtesies, which I will be ever to pay, and yet pay still. And in All's well, that Ends well. And let me buy your friendly Help thus far, Which I will over-pay, and pay again When I have found it.

Note return to page 200 [15] (15) I have sent after him; he says he'll come.] But Who did he say so to? Or from Whom could my Lady have any such Intelligence? Her Servant, employ'd upon this Errand, was not yet return'd; and, when he does return, he brings Word, that the Youth would hardly be intreated back. I am persuaded, She was intended rather to be in Suspense, and deliberating with herself: putting the Supposition that he would come; and asking Herself, in that Case, how She should entertain him. I imagine therefore the Poet wrote; &lblank; Say, he will come; So Viola, before, in this Play; Say, I do speak with her, my Lord; what then? So Petruchio in the Taming of the Shrew; Say, that She rail; why, then I'll tell her plain, &c. And in numberless other Passages.

Note return to page 201 [16] (16) Sir, no: his Indignation drives itself out of a very competent Injury;] This Error first obtain'd from Inadvertence, I presume, in Mr. Rowe's Edition: and Mr. Pope has most faithfully copied it. I have restor'd the genuine Reading of the old Folio's:—his Indignation derives itslf, &c. As in 2 Hen. IV. Derives from Heav'n his Quarrel and his Cause.

Note return to page 202 [17] (17) In a trice, like to the old Vice,] So in Ben Jonson's The Devil is an Ass. What is he calls upon me, and would seem to lack a Vice? Ere his Words be half spoken, I am with him in a trice. In Both these Places, by Vice, is meant that buffoon, droll. Character so general in the old Plays, who was drest up in a long Coat, a Fool's Cap with Asses Ears, and furnish'd with a wooden Sword, with which he was as active and wanton as Arlequin. But I have explain'd the Word and Character more particularly in a Note upon this Line of King Richard IIId. Thus, like the formal Vice, Iniquity, &c.

Note return to page 203 [18] (18) Yet there he was, and there I found this Credit, That he did range, &c.] i. e. I found it justified; credibly vouch'd. Whether the Word Credit will easily carry this Meaning, I am doubtful: The Expression seems obscure; and tho' I have not disturb'd the Text, I very much suspect that the Poet wrote; &lblank; and there I found this credent, He uses the same Term again in the very same Sense in The Winter's Tale. &lblank; Then 'tis very credent, Thou may'st co-join with something, and thou dost, &c.

Note return to page 204 [19] (19) So that Conclusions to be as kisses,—] Tho' it might be unreasonable to call our Poet's Fools and Knaves every where to Account; yet, if we did, for the Generality we should find them responsible. But what monstrous Absurdity have we here? To suppose the Text genuine, We must acknowledge it too wild to have any known Meaning: and what has no known Meaning, cannot be allow'd to have either Wit or Humour. Besides, the Clown is affecting to argue seriously and in Form. I imagine, the Poet wrote; So that, Conclusion to be asked, is i. e. So that the Conclusion I have to demand of You is this, it your Four, &c. He had in the preceding Words been inferring some Premisses, and now comes to the Conclusion very logically; You grant Me, says He, the Premisses; I now ask you to grant the Conclusion. Mr. Warburton.

Note return to page 205 [20] (20) Why should I not, had I the Heart to do it, Like to th' Ægyptian Thief, at point of Death Kill what I love!] In this Simile, a particular Story is presuppos'd; which ought to be known, to shew the Justness and Propriety of the Comparison. I'll give the Synopsis of it from Heliodorus's Æthiopics, to which our Author was indebted for the Allusion. This Ægyptian Thief was Thyamis, who was a Native of Memphis, and at the Head of a Band of Robbers. Theagenes and Chariclea falling into their Hands, Thyamis fell desperately in Love with the Lady, and would have married her. Soon after, a stronger Body of Robbers coming down upon Thyamis's Party, He was in such Fears for his Mistress, that he had her shut into a Cave with his Treasure. It was customary with those Barbarians, when they despair'd of their own Safety, first to make away with Those whom they held dear, and desired for Companions in the next Life. Thyamis, therefore, benetted round with his Enemies, raging with Love, Jealousy, and Anger, went to his Cave; and calling aloud in the Ægyptian Tongue, so soon as He heard himself answer'd towards the Cave's Mouth by a Grecian, making to the Person by the Direction of her Voice, he caught her by the Hair with his left Hand, and (supposing her to be Chariclea) with his right Hand plung'd, his Sword into her Breast.

Note return to page 206 [21] (21) &lblank; by whose gentle Help I was preserv'd to serve this noble Duke.] Tho' this be Sense, and possesses all the printed Copies, yet I suspect, from the Similitude in the two Words preserv'd and serve (a Sameness of Sound, which Shakespeare would, probably, have avoided;) the Copyists, or Men at Press, committed a slight Mistake. When the Captain and Viola first appear upon the Stage, She says to him; &lblank; I'll serve this Duke; Thou shalt present me &c. I therefore believe, the Author wrote, as I have reform'd the Text; &lblank; by whose gentle Help I was preferr'd to serve this noble Duke; So in The Taming of the Shrew; &lblank; If you, Hortensio, Or, Signor Gremio, you know any such, Prefer them hither. So, in Julius Cæsar; Oct. Fellow, wilt Thou bestow thy Time with me? Stra. Ay, if Messala will prefer me to you. &c. &c. &c.

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