Note return to page 1 Of this Play the Editions are, I. Quarto, 1608, by Nathaniel Butler. II. In the folio of 1623. III. Quarto, by Jane Bell, 1655. This edition is of no value, for, neglecting the better copy in the folio, it follows the first quarto, even in the errours of the press. This edition, like all the other, except Bell's, is given from the folio. The variations are sometimes noted.

Note return to page 2 1in the division of the kingdom.] There is something of obscurity or inaccuracy in this preparatory scene. The King has already divided his kingdom, and yet when he enters he examines his daughters, to discover in what proportions he should divide it. Perhaps Kent and Gloucester only were privy to his design, which he still kept in his own hands, to be changed or performed as subsequent reasons should determine him.

Note return to page 3 2Equalities. 4to.

Note return to page 4 3that curiosity in neither] Curiosity, for exactest scrutiny. The sense of the whole sentence is, The qualities and properties of the several divisions are so weighed and balanced against one another, that the exactest scrutiny could not determine in preferring one share to the other. Warburton.

Note return to page 5 4some year elder than this,] The Oxford Editor, not understanding the common phrase, alters year to years. He did not consider, the Bastard says, For that I am some twelve or fourteen moon-shines Lag of a Brother. &lblank; Warburton.

Note return to page 6 5express our darker purpose.] Darker, for more secret; not for indirect, oblique. Warburton. This word may admit a further explication. We shall express our darker purpose: that is, we have already made known in some measure our design of parting the kingdom; we will now discover what has not been told before, the reasons by which we shall regulate the partition. This interpretation will justify or palliate the exordial dialogue.

Note return to page 7 6and 'tis our fast intent,] This is an interpolation of Mr. Lewis Theobald, for want of knowing the meaning of the old reading in the quarto of 1608, and first folio of 1623; where we find it, &lblank; and 'tis our first intent, which is as Shakespear wrote it: who makes Lear declare his purpose with a dignity becoming his character: That the first reason of his abdication was the love of his people, that they might be protected by such as were better able to discharge the trust; and his natural affection for his daughters, only the second. Warburton. Fast is the reading of the first folio, and I think the true reading.

Note return to page 8 7Constant will seems a confirmation of fast intent.

Note return to page 9 8Beyond all manner, &c.] i. e. beyond all expression. Warburton. Beyond all manner of so much &lblank;] Beyond all assignable quantity. I love you beyond limits, and cannot say it is so much, for how much soever I should name it would yet be more.

Note return to page 10 9So the quarto: the folio has speak.

Note return to page 11 1&lblank; that I profess] That seems to stand without relation, but is referred to find, the first conjunction being inaccurately suppressed. I find that she names any deed, that I profess, &c.

Note return to page 12 2Which the most precious square of sense possesses;] By the square of sense, we are, here, to understand the four nobler senses, viz. the sight, hearing, taste, and smell. For a young lady could not, with decency, insinuate that she knew of any pleasures which the fifth afforded. This is imagined and expressed with great propriety and delicacy. But the Oxford Editor, for square, reads spirit. Warburton. This is acute, but perhaps square means only compass, comprehension.

Note return to page 13 3More pond'rous than my tongue.] We should read, their tongue, meaning her sisters. Warburton. I think the present reading right.

Note return to page 14 4No less in space, validity,] Validity, for worth, value; not for integrity, or good title. Warburton.

Note return to page 15 5Now our joy,] Here the true reading is picked out of two copies. Butler's quarto reads, &lblank; But now our joy, Although the last, not least in our dear love, What can you say to win a third, &c. The folio. &lblank; Nor our joy, Although our last, and least; to whose young love, The vines of France, and milk of Burgundy, Strive to be int'ress'd. What can you say.

Note return to page 16 6To love my father all. &lblank;] These words restored from the first edition, without which the sense was not compleat. Pope.

Note return to page 17 7&lblank; only retain The name, and all th' addition to a King: The sway, revenue, execution, Beloved sons, be yours;] The old books read the lines thus, The sway, revenue, execution of the rest, Beloved sons, be yours. This is evidently corrupt, and the editors not knowing what to make of—of the rest—, left it out. The true reading, without doubt, was, The sway, revenue, execution of th' hest, Beloved sons, be yours. &lblank; Hest, is an old word for regal command: so that the sense of the whole is,—I will only retain the name and all the ceremonious observances that belong to a King; the essentials, as sway, revenue, administration of the laws, be yours. Warburton. Execution of the rest.] I do not see any great difficulty in the words, execution of the rest, which are in both the old copies. The execution of the rest is, I suppose, all the other business. Dr. Warburton's own explanation of his amendment confutes it; if hest be a regal command, they were, by the grant of Lear, to have rather the hest than the execution.

Note return to page 18 8Think'st thou, that duty shall have dread to speak,] I have given this passage according to the old folio, from which the modern editions have silently departed, for the sake of better numbers, with a degree of insincerity, which, if not sometimes detected and censured, must impair the credit of antient books. One of the editors, and perhaps only one, knew how much mischief may be done by such clandestine alterations. The quarto agrees with the folio, except that for reserve thy state, it gives, reverse thy doom, and has stoops instead of falls to folly. The meaning of answer my life my judgment is, Let my life be answerable for my judgment, or I wi l stake my life on my opinion. The reading which, without any right, has possessed all the modern copies is this, &lblank; to plainness Honour Is bound, when Majesty to folly falls. Reserve thy state; with better judgment check This hideous rashness; with my life I answer, Thy youngest daughter, &c. I am inclined to think that reverse thy doom was Shakespeare's first reading, as more apposite to the present occasion, and that he changed it afterwards to reserve thy state, which conduces more to the progress of the action.

Note return to page 19 9The true blank of thine eye] The blank is the white or exact mark at which the arrow is shot. See better, says Kent, and keep me always in your view.

Note return to page 20 1&lblank; strain'd pride,] The oldest copy reads, strayed pride; that is, pride exorbitant; pride passing due bounds.

Note return to page 21 2To come betwixt our sentence and our power;] Power, for execution of the sentence. Warburton.

Note return to page 22 3Which nor our nature, nor our place can bear, Our potency make good;] Mr. Theobald, by putting the first line into a parenthesis and altering make to made in the second line, had destroyed the sense of the whole; which, as it stood before he corrupted the words, was this: “You have endeavour'd, says Lear, to make me break my oath, you have presumed to stop the execution of my sentence: the latter of these attempts neither my temper nor high station will suffer me to bear: and the other, had I yielded to it, my power could not make good, or excuse.”— Which, in the first line, referring to both attempts: But the ambiguity of it, as it might refer only to the latter, has occasioned all the obscurity of the passage. Warburton. Theobald only inserted the parenthesis; he found made good in the best copy of 1623. Dr. Warburton has very acutely explained and defended the reading that he has chosen, but I am not certain that he has chosen right. If we take the reading of the folio, our potency made good, the sense will be less profound indeed, but less intricate, and equally commodious. As thou hast come with unreasonable pride between the sentence which I had passed, and the power by which I shall execute it, take thy reward in another sentence which shall make good, shall establish, shall maintain, that power. If Dr. Warburton's explanation be chosen, and every reader will wish to choose it, we may better read, Which nor our nature, nor our state can bear, Or potency make good. Mr. Davies thinks, that our potency made good relates only to our place.—Which our nature cannot bear, nor our place, without departure from the potency of that place. This is easy and clear. Lear, who is characterized as hot, heady and violent, is, with very just observation of life; made to entangle himself with vows, upon any sudden provocation to vow revenge, and then to plead the obligation of a vow in defence of implacability.

Note return to page 23 4By Jupiter.] Shakespeare makes his Lear too much a mythologist: he had Hecate and Apollo before.

Note return to page 24 5He'll shape his old course &lblank;] He will follow his old maxims; he will continue to act upon the same principles.

Note return to page 25 6Seeming is beautiful.

Note return to page 26 *Election makes not up on such conditions.] To make up signifies to complete, to conclude; as, they made up the bargain; but in this sense it has, I think, always the subject noun after it. To make up, in familiar language, is, neutrally, to come forward, to make advances, which, I think, is meant here.

Note return to page 27 7Best is added from the first copy.

Note return to page 28 8The common books read, &lblank; or your fore-vouch'd affection Fall'n into taint: &lblank;] This line has no clear or strong sense, nor is this reading authorised by any copy, though it has crept into all the late editions. The early quarto reads, &lblank; or you for vouch'd affections Fal'n into taint. The folio, &lblank; or your fore-vouch'd affection Fall into taint. Taint is used for corruption and for disgrace. If therefore we take the oldest reading it may be reformed thus: &lblank; sure her offence Must be of such unnatural degree, That monsters it; or you for vouch'd affection Fall into taint. Her offence must be prodigious, or you must fall into reproach for having vouched affection which you did not feel. If the reading of the folio be preferred, we may with a very slight change produce the same sense. &lblank; sure her offence Must be of such unnatural degree, That monsters it, or your fore-vouch'd affection Falls into taint. That is, falls into reproach or censure. But there is another possible sense. Or signifies before, and or ever is before ever; the meaning in the folio may therefore be, Sure her crime must be monstrous before your affection can be infected with hatred. Let the reader determine. As I am not much a friend to conjectural emendation I should prefer the latter sense, which requires no change of reading.

Note return to page 29 9from th' intire point.] Intire, for right, true. Warburton. Rather, single, unmixed with other considerations.

Note return to page 30 1Thou losest here, &lblank;] Here and where have the power of nouns. Thou losest this residence to find a better residence in another place.

Note return to page 31 2And well are worth the Want that you have wanted.] This is a very obscure Expression, and must be pieced out with an implied Sense to be understood. This I take to be the Poet's Meaning, stript of the Jingle which makes it dark: “You well deserve to meet with that Want of Love from your Husband, which you have professed to want for our Father.” Theobald. And well are worth the Want that you have wanted.] This nonsense must be corrected thus, And well are worth the Want that you have vaunted. i. e. that disherison, which you so much glory in, you deserve. Warburton. I think the common reading very suitable to the manner of our authour, and well enough explained by Theobald.

Note return to page 32 3Who covers faults, &c.] Il rir a bien, qui rira le dernier.

Note return to page 33 4let us hit] So the old quarto. The folio, let us sit.

Note return to page 34 5Thou, Nature, art my Goddess;] He makes his bastard an Atheist. Italian Atheism had much infected the English Court, as we learn from the best writers of that time. But this was the general title those Atheists in their works gave to Nature; thus Vanini calls one of his books, De admirandis naturæ Reginæ deæque mortalium Arcanis. So that the title here is emphatical. Warburton.6Q0198

Note return to page 35 6Stand in the plague of custom,] To stand in the plague of custom, is an absurd expression. We should read, Stand in the plage of custom. i. e. the place, the country, the boundary of custom. Why should I, when I profess to follow the freedom of nature, be confined within the narrow limits of custom? Plage, is a word in common use amongst the old English writers. So Chaucer, The plagis of the North by land and sea.—From plaga. Warburton. The word plague is in all the old copies: I can scarcely think it right, nor can I yet reconcile myself to the emendation proposed, though I have nothing better to offer.6Q0199

Note return to page 36 7The courtesy of Nations] Mr. Pope reads Nicety. The Copies, give,—the Curiosity of Nations; but our Author's Word was, Curtesy. In our Laws, some Lands are held by the Curtesy of England. Theobald.

Note return to page 37 *Edmund inveighs against the tyranny of custom, in two instances, with respect to younger brothers, and to bastards. In the former he must not be understood to mean himself, but the argument becomes general by implying more than is said, Wherefore should I or any man. Hanmer.

Note return to page 38 8Who, in the lusty stealth of nature, &c.] These fine lines are an instance of our author's admirable art in giving proper sentiments to his characters. The Bastard's is that of a confirmed Atheist; and his being made to ridicule judicial astrology was designed as one mark of such a character. For this impious juggle had a religious reverence paid to it at that time. And therefore the best characters in this play acknowledge the force of the stars' influence. But how much the lines following this, are in character, may be seen by that monstrous wish of Vanini, the Italian Atheist, in his tract De admirandis naturæ, &c. printed at Paris, 1616, the very year our poet died. O utinam extra legitimum & connubialem thorum essem procreatus! Ita enim progenitores mei in Venerem incaluissent ardentiùs, ac cumulatim affatimque generosa semina contulissent, è quibus ego formæ blanditiam et elegantiam, robustas corporis vires, mentemque innubilant consequutus fuissem. At quia conjugatorum sum soboles, his orbatus sum bonis. Had the book been published but ten or twenty years sooner, who would not have believed that Shakespear alluded to this passage? But the divinity of his genius foretold, as it were, what such an Atheist, as Vanini, would say, when he wrote upon such a subject. Warburton.

Note return to page 39 8Shall be th' legitimate. &lblank;] Here the Oxford Editor would show us that he is as good at coining phrases as his Author, and so alters the text thus, Shall toe th'legitimate. i. e. says he, stand on even ground with him, as he would do with his author. Warburton. Hanmer's emendation will appear very plausible to him that shall consult the original reading. Butler's quarto reads, &lblank; Edmund the base Shall tooth' legitimate. The folio,—Edmund the base Shall to' th' legitimate. Hanmer, therefore, could hardly be charged with coining a word, though his explanation may be doubted. To toe him, is perhaps, to kick him out, a phrase yet in vulgar use; or, to toe, may be literally to supplant. The word be has no authority.

Note return to page 40 9Now, Gods, stand up for bastards!] For what reason? He does not tell us; but the poet alludes to the debaucheries of the Pagan Gods, who made heroes of all their bastards. Warburton.

Note return to page 41 1&lblank; subscrib'd his pow'r!] Subscrib'd, for transferred, alienated. Warburton. To subscribe, is, to transfer by signing or subscribing a writing of testimony. We now use the term, He subscribed forty pounds to the new building.

Note return to page 42 2Exhibition is allowance. The term is yet used in the universities.

Note return to page 43 3&lblank; all this done Upon the gad!] So the old copies: the later editions read, &lblank; all is gone Upon the gad! which, besides that it is unauthorised, is less proper. To do upon the gad, is, to act by the sudden stimulation of caprice, as cattle run madding when they are stung by the gad fly.

Note return to page 44 4taste of my virtue.] Though taste may stand in this place, yet I believe we should read, assay or test of my virtue: they are both metallurgical terms, and properly joined. So in Hamlet, Bring me to the test.

Note return to page 45 5This policy and reverence of ages] Ages signifies former times. So the sense of the words is this, what between the policy of some, and the superstitious reverence of others to old customs, it is now become an established rule, that fathers shall keep all they have till they die. Warburton. All this may be spared. Age, not ages, is the reading of both the copies of authority. Butler's quarto has, this policy of age; the folio, this policy and reverence of age.

Note return to page 46 6idle and fond] Weak and foolish.

Note return to page 47 7Pretence is design, purpose. So afterwards in this play, Pretence and purpose of unkindness.

Note return to page 48 8wind me into him.] I once thought it should be read, you into him; but, perhaps, it is a familiar phrase like, do me this.

Note return to page 49 9I would unstate myself, to be in a due resolution] i. e. I will throw aside all consideration of my relation to him, that I may act as justice requires. Warburton. Such is this learned man's explanation. I take the meaning to be rather this, Do you frame the business, who can act with less emotion; I would unstate myself; it would in me be a departure from the paternal character, to be in a due resolution, to be settled and composed on such an occasion. The words would and should are in old language often confounded.

Note return to page 50 1convey the business] Convey, for introduce: but convey is a fine word, as alluding to the practice of clandestine conveying goods so as not to be found upon the felon. Warburton. To convey is rather to carry through than to introduce; in this place it is to manage artfully; we say of a juggler, that he has a clean conveyance.

Note return to page 51 2the wisdom of nature] That is, though natural philosophy can give account of eclipses, yet we feel their consequences.

Note return to page 52 3This is the excellent foppery of the world, &c.] In Shakespeare's best plays, besides the vices that arise from the subject, there is generally some peculiar prevailing folly, principally ridiculed, that runs thro' the whole piece. Thus, in the Tempest, the lying disposition of travellers, and in As you like it, the fantastick humour of courtiers, is exposed and satirised with infinite pleasantry. In like manner, in this play of Lear, the dotages of judicial astrology are severely ridiculed. I fancy, was the date of its first performance well considered, it would be found that something or other happened at that time which gave a more than ordinary run to this deceit, as these words seem to intimate, I am thinking, brother, of a prediction I read this other day, what should follow these eclipses. However this be, an impious cheat, which had so little foundation in nature or reason, so detestable an original, and such fatal consequences on the manners of the people, who were at that time strangely besotted with it, certainly deserved the severest lash of satire. It was a fundamental in this noble science, that whatever seeds of good dispositions the infant unborn might be endowed with, either from nature, or traductively from its parents, yet if, at the time of its birth, the delivery was by any casualty so accelerated or retarded, as to fall in with the predominancy of a malignant constellation, that momentary influence would entirely change its nature, and bias it to all the contrary ill qualities. So wretched and monstrous an opinion did it set out with. But the Italians, to whom we owe this, as well as most other unnatural crimes and follies of these latter ages, fomented its original impiety to the most detestable height of extravagance. Petrus Aponensis, an Italian physician of the XIIIth century, assures us that those prayers which are made to God when the moon is in conjunction with Jupiter in the Dragon's tail, are infallibly heard. The great Milton with a just indignation of this impiety, hath, in his Paradise Regained, satirized it in a very beautiful manner, by putting these reveries into the mouth of the Devil. Nor could the licentious Rabelais himself forbear to ridicule this impious dotage, which he does with exquisite address and humour, where, in the fable which he so agreeably tells from Æsop, of the man who applied to Jupiter for the loss of his hatchet, he makes those, who, on the poor man's good success, had projected to trick Jupiter by the same petition, a kind of astrologick atheists, who ascribed this good fortune, that they imagined they were now all going to partake of, to the influence of some rare conjunction and configuration of the stars. Hen, hen, disent ils—Et doncques, telle est au temps present la revolution des Cieulx, la constellation des Astres, & aspect des Planetes, que quiconque Coignée perdra, soubdain aeviendra ainsi riche?— Nou. Prol. du IV. Livre. But to return to Shakespear. So blasphemous a delusion, therefore, it became the honesty of our poet to expose. But it was a tender point, and required managing. For this impious juggle had in his time a kind of religious reverence paid to it. It was therefore to be done obliquely; and the circumstances of the scene furnished him with as good an opportunity as he could wish. The persons in the drama are all pagans, so that as, in compliance to custom, his good characters were not to speak ill of judicial Astrology, they could on account of their religion give no reputation to it. But in order to expose it the more, he, with great judgment, makes these pagans Fatalists; as appears by these words of Lear, By all the operations of the orbs, From whom we do exist and cease to be. For the doctrine of fate is the true foundation of judicial Astrology. Having thus discredited it by the very commendations given to it, he was in no danger of having his direct satire against it mistaken, by its being put (as he was obliged, both in paying regard to custom, and in following nature) into the mouth of the villain and atheist, especially when he has added such force of reason to his ridicule, in the words referred to in the beginning of the note.

Note return to page 53 4An admirable evasion &lblank; to lay his &lblank; disposition on the charge of a star!] We should read, change of a star! which both the sense and grammar require. It was the opinion of Astrologers, (see what is said just above) that the momentary influence did all; and we do not say, Lay a thing on the charge, but to the charge. Besides, change answering to evasion just above, gives additional elegance to the expression. Warburton.

Note return to page 54 5He comes, like the Catastrophe of the old comedy;] This we are to understand, as a compliment, intended by the Author, on the natural winding up of the plot in the Comedy of the ancients; which as it was owing to the artful and yet natural introduction of the persons of the Drama into the scene, just in the nick of time, or pat, as our author says, makes the similitude very proper. This, without doubt, is the supreme beauty of Comedy, considered as an action. And as it depends solely on a strict observance of the Unities, it shews that these Unities are in nature, and in the reason of things, and not in a meer arbitrary invention of the Greeks, as some of our own country critics, of a low mechanic genius, have, by their works, persuaded our wits to believe. For common sense requiring that the subject of one comedy should be one action, and that that action should be contained nearly within the period of time which the representation of it takes up; hence we have the unities of Time and Action; and, from these, unavoidably arises the third, which is that of Place. For when the whole of one action is included within a proportionable small space of time, there is no room to change the scene, but all must be done upon one spot of ground. Now from this last unity (the necessary issue of the two other, which derive immediately from nature) proceeds all that beauty of the catastrophe, or the winding up the plot in the ancient comedy. For all the persons of the Drama being to appear and act on one limited spot, and being by their several interests to embarras, and at length to conduct the action to its destin'd period, there is need of consummate skill to bring them on, and take them off, naturally and necessarily: for the grace of action requires the one, and the perfection of it the other. Which conduct of the action, must needs produce a beauty that will give a judicious mind the highest pleasure. On the other hand, when a comic writer has a whole country to range in, nothing is easier than to find the persons of the Drama just where he would have them; and this requiring no art, the beauty we speak of is not to be found. Consequently a violation of the unities deprives the Drama of one of its greatest beauties; which proves what I asserted, that the three unities are no arbitrary mechanic invention, but founded in reason and the nature of things. The Tempest of Shakespear sufficiently proves him to be well acquainted with these unities; and the passage in question shews him to have been struck with the beauty that results from them. Warburton.

Note return to page 55 6I promise you,] The folio edition commonly differs from the first quarto, by augmentations or insertions, but in this place it varies by omission, and by the omission of something which naturally introduces the following dialogue. The quarto has the passage thus: I promise you, the effects, he writes of, succeed unhappily, as of unnaturalness between the child and parent, death, dearth, dissolutions of ancient amities, divisions in state, menaces and maledictions against king and nobles, needless diffidences, banishment of friends, dissipation of courts, nuptial breaches, and I know not what. It is easy to remark, that in this speech, which ought, I think, to be inserted in the text, Edmund, with the common craft of fortune-tellers, mingles the past and future, and tells of the future only what he already foreknows by confederacy, or can attain by probable conjecture.

Note return to page 56 7that with the mischief of your person] This reading is in both copies, yet I believe the authour gave it, that but with the mischief of your person it would scarce allay.

Note return to page 57 8Idle old Man,] The following Lines, as they are fine in themselves, and very much in Character for Gonerill, I have restored from the Old Quarto. The last verse, which I have ventured to amend, is there printed thus: With Checks, like Flatt'ries when they are seen abus'd. Theobald.

Note return to page 58 9Old Fools are babes again; and must be used With Checks like Flatt'ries when they're seen abus'd.] Thus the old Quarto reads these lines. It is plain they are corrupt. But they have been made worse by a fruitless attempt to correct them. And first, for Old Fools are babes again; A proverbial expression is here plainly alluded to; but it is a strange proverb which only informs us that fools are innocents. We should read, Old Fools are Babes again; &lblank; Thus speaks the proverb, and with the usual good sense of one, The next line is jumbled out of all meaning. With Checks like Flatt'ries when they're seen abus'd. Mr. Theobald restores it thus, With Checks like Flatt'rers when they're seen to abuse us. Let us consider the sense a little. Old Folks, says the speaker, are Babes again; well, and what then? Why then they must be used like Flatterers. But when Shakespear quoted the Proverb, we may be assured his purpose was to draw some inference from it, and not run rambling after a similitude. And that inference was not difficult to find, had common sense been attended to, which tells us Shakespear must have wrote, Old Folks are Babes again; and must be used With Checks, not Flatt'ries when they're seen abus'd. i. e. Old folks being grown children again, they should be used as we use children, with Checks, when we find that the little Flatt'ries we employed to quiet them are abused, by their becoming more peevish and perverse by indulgence. —When they're seen abus'd. i. e. when we find that those Flatt'ries are abused. Warburton. These lines hardly deserve a note, though Mr. Theobald thinks them very fine. Whether fools or folks should be read is not worth enquiry. The controverted line is yet in the old quarto, not as the editors represent it, but thus: With checks as flatteries when they are seen abus'd. I am in doubt whether there is any errour of transcription. The sense seems to be this: Old men must be treated with checks, when as they are seen to be deceived with flatteries: or, when they are once weak enough to be seen abused by flatteries, they are then weak enough to be used with checks. There is a play of the words used and abused. To abuse is, in our authour, very frequently the same as to deceive. This construction is harsh and ungrammatical; Shakespeare perhaps thought it vitious, and chose to throw away the lines rather than correct them, nor would now thank the officiousness of his editors, who restore what they do not understand.

Note return to page 59 1him that is wise and says little;] Tho' saying little may be the character of wisdom, it was not a quality to chuse a companion by for his conversation. We should read, to say little; which was prudent when he chose a wise companion to profit by. So that it was as much as to say, I profess to talk little myself, that I may profit the more by the conversation of the wise. Warburton. To converse signifies immediately and properly to keep company, not to discourse or talk. His meaning is, that he chooses for his companions men of reserve and caution; men who are no tattlers nor tale-bearers. The old reading is the true.

Note return to page 60 2and to eat no fish.] In Queen Elizabeth's time the Papists were esteemed, and with good reason, enemies to the government. Hence the proverbial phrase of, He's an honest man and eats no fish; to signify he's a friend to the Government and a Protestant. The eating fish, on a religious account, being then esteem'd such a badge of popery, that when it was enjoin'd for a season by act of parliament, for the encouragement of the fish-towns, it was thought necessary to declare the reason; hence it was called Cecil's Fast. To this disgraceful badge of popery, Fletcher alludes in his Woman-hater, who makes the courtezan say, when Lazarillo, in search of the Umbrano's head, was seized at her house by the Intelligencers, for a traytor. Gentlemen, I am glad you have discovered him. He should not have eaten under my roof for twenty pounds. And sure I did not like him when he called for fish. And Marston's Dutch Courtezan. I trust I am none of the wicked that eat fish a fryday. Warburton.

Note return to page 61 3take my coxcomb.] Meaning his cap, called so, because on the top of the fool or jester's cap was sewed a piece of red cloth, resembling the comb of a cock. The word, afterwards, used to denote a vain conceited meddling fellow. Warburton.

Note return to page 62 4two coxcombs,] Two fools caps, intended, as it seems, to mark double folly in the man that gives all to his daughters.

Note return to page 63 *Lend less than thou owest,] That is, do not lend all that thou hast. To owe in Old English is to possess. If owe be taken for to be in debt, the more prudent precept would be, Lend more than thou owest.

Note return to page 64 5Learn more than thou trowest,] To trow, is an old word which signifies to believe. The precept is admirable. Warb.

Note return to page 65 6This dialogue, from No, lad, teach me, down to, Give me an egg, was restored from the first edition by Mr. Theobald. It is omitted in the folio, perhaps for political reasons, as it seemed to censure monopolies.

Note return to page 66 7If I had a monopoly on't, they would have a part on't:] A satire on the gross abuses of monopolies at that time; and the corruption and avarice of the courtiers, who commonly went shares with the patentee. Warb.

Note return to page 67 8Fools ne'er had less grace in a year,] There never was a time when fools were less in favour, and the reason is, that they were never so little wanted, for wise men now supply their place. Such I think is the meaning. The old edition has wit for grace.

Note return to page 68 *Whoop, Jug, &c.] There are in the fool's speeches several passages which seem to be proverbial allusions, perhaps not now to be understood.

Note return to page 69 9Fool. Lear's shadow.] I have given this passage according to the first folio. The quarto, which the modern editors have followed, makes Lear continue the speech thus: &lblank; who I am? Lear's shadow? I would learn that; for by the marks Of sovereignty, of knowledge and reason, I should be false persuaded I had daughters. Your name, fair gentlewoman? I think the folio in this place preferable. Dr. Warburton has inserted these lines with the following note: &lblank; for by the marks Of sovereignty, of knowledge, and of reason.] His daughters prove so unnatural, that, if he were only to judge by the reason of things, he must conclude, they cannot be his daughters. This is the thought. But how does his kingship or sovereignty enable him to judge in this matter? The line, by being false pointed, has lost its sense. We should read, Of sovereignty of knowledge, &lblank; i. e. the understanding. He calls it, by an equally fine phrase, in Hamlet, Sov'reignty of reason. And it is remarkable that the Editors had depraved it there too. See Note, Act 1. Scene 7. of that play. Warburton.

Note return to page 70 1A little is the reading; but it appears, from what Lear says in the next Scene, that this number fifty was required to be cut off, which (as the Editions stood) is no where specify'd by Gonerill. Pope.

Note return to page 71 2&lblank; that shall still depend,] Depend, for continue in service. Warburton.6Q0200

Note return to page 72 3from her derogate body] Derogate, for unnatural. Warb. Rather, I think, degraded; blasted.

Note return to page 73 4With cadent tears &lblank;] We should read, candent, i. e. hot, scalding. More agreeable to the passionate imprecation of the speaker; and to his usual phraseology: as where he says presently after, &lblank; these hot tears that break from me perforce, and again, &lblank; my own tears Do scald like molten lead. Warburton. This emendation, if candent be a word any where to be found, is elegant, but not necessary.

Note return to page 74 5I will transcribe this passage from the first edition, that it may appear to those who are unacquainted with old books, what is the difficulty of revision, and what indulgence is due to those that endeavour to restore corrupted passages. That these hot tears, that breake from me perforce, should make the worst blasts and fogs upon the untender woundings of a father's curse, peruse every sense about the old fond eyes, beweep this cause again, &c.

Note return to page 75 6The reading is here gleaned up part from the first, and part from the second edition.

Note return to page 76 7&lblank; compact it more.] Unite one circumstance with another, so as to make a consistent account.

Note return to page 77 *there afore you.] He seems to intend to go to his daughter, but it appears afterwards that he is going to the house of Glo'ster.

Note return to page 78 8I did her wrong.] He is musing on Cordelia.

Note return to page 79 9To tak't again perforce!] He is meditating on the resumption of his royalty.

Note return to page 80 *Subjects of discourse; topicks.

Note return to page 81 *&lblank; queazy question] Something of a suspicious, questionable and uncertain nature. This is, I think, the meaning.

Note return to page 82 1&lblank; have you nothing said Upon his party 'gainst the Duke of Albany?] The meaning is, have you said nothing upon the party formed by him against the Duke of Albany? Hanmer. I cannot but think the line corrupted, and would read, Against his party, for the Duke of Albany?

Note return to page 83 2Mumbling of wicked Charms, conj'ring the moon] This was a proper circumstance to urge to Glo'ster; who appears, by what passed between him and his bastard son in a foregoing scene, to be very superstitious with regard to this matter. Warburton.

Note return to page 84 3their thunder—First edition; the rest have it, the thunder.

Note return to page 85 4gasted] Frighted.

Note return to page 86 5Not in this land shall he remain uncaught; And found dispatch—the noble Duke, &c] This nonsense should be read and pointed thus. Not in this land shall he remain uncaught; And found, dispatch'd. &lblank; Warburton. I do not see how this change mends the sense: I think it may be better regulated as in the page above. The sense is interrupted. He shall be caught—and found he shall be punished. Despatch

Note return to page 87 6murd'rous coward] The first edition reads, caitiff.

Note return to page 88 7And found him pight to do it, with curst speech] Pight is pitched, fixed, settled. Curst is severe, harsh, vehemently angry.

Note return to page 89 8&lblank; would the reposal] i. e. would any opinion that men have reposed in thy trust, virtue, &c. Warburton.

Note return to page 90 9Strong and fastened. 4to.

Note return to page 91 1&lblank; threading dark-ey'd Night.] I have not ventur'd to displace this Reading, tho' I have great Suspicion that the Poet wrote, &lblank; treading dark ey'd Night. i. e. travelling in it. The other carries too obscure and mean an Allusion. It must either be borrow'd from the Cant-phrase of threading of Alleys, i. e. going thro' bye passages to avoid the high Streets; or to threading a Needle in the dark. Theob. The quarto reads, &lblank; threat'ning dark-eyed night.

Note return to page 92 2Occasions, noble Glo'ster, of some prize,] We should read, poise, i. e. weight. Warburton. Why not prize or price for value?

Note return to page 93 3&lblank; from our home:] Not at home, but at some other place.

Note return to page 94 4Good evening] In the common editions it is Good dawning, tho' the time be apparently night. But this was not Shakespear's phrase. The common editions were corrupt indeed, and should have given it us, as the poet wrote it, Good downing. i. e. good rest, the common evening-salutation of that time. Warburton. It is plainly past evening and may, without any inconvenience, be supposed to be dawning.

Note return to page 95 5Lipsbury pinfold.] The allusion which seems to be contained in this line I do not understand. In the violent eruption of reproaches which bursts from Kent in this dialogue, there are some epithets which the commentators have left unexpounded, and which I am not very able to make clear. Of a three-suited knave I know not the meaning, unless it be that he has different dresses for different occupations. Lilly-liver'd is cowardly; white-blooded and white-liver'd are still in vulgar use. An one-trunk inheriting slave I take to be a wearer of old castoff cloaths, an inheritor of torn breeches.

Note return to page 96 6I'll make a sop o'th'moonshine of you;] This is equivalent to our modern phrase of making the sun shine thro' any one. But, alluding to the natural philosophy of that time, it is obscure. The Peripatetics thought, tho' falsly, that the rays of the moon were cold and moist. The speaker therefore says, he would make a sop of his antagonist, which should absorb the humidity of the moon's rays, by letting them into his guts. For this reason, Shakespeare in Romeo and Juliet says, &lblank; the moonshine's watry beams. And in Midsummer-Night's dream, Quench'd in the chast beams of the watry moon. Warburton.

Note return to page 97 *barber-monger,] Of this word I do not clearly see the force.

Note return to page 98 7Vanity the puppet] Alluding to the mysteries or allegorical shews, in which Vanity, Iniquity, and other vices, were personified.

Note return to page 99 †neat slave,] You mere slave, you very slave.

Note return to page 100 8Thou whoreson Zed! thou unnecessary letter!] I do not well understand how a man is reproached by being called Zed, nor how Z is an unnecessary letter. Scarron compares his deformity to the shape of Z, and it may be a proper word of insult to a crook-backed man; but why should Gonerill's steward be crooked, unless the allusion be to his bending or cringing posture in the presence of his superiours? Perhaps it was written, thou whoreson C [for cuckold] thou unnecessary letter. C is a letter unnecessary in our alphabet, one of its two founds being represented by S, and one by K. But all the copies concur in the common reading.

Note return to page 101 9this unbolted villain] i. e. unrefined by education, the bran yet in him. Metaphor from the bakehouse. Warburton.

Note return to page 102 1Like rats, oft bite the holy cords atwaine, Which are t'intrince, t'unloose;] Thus the first Editors blundered this Passage into unintelligible Nonsense. Mr. Pope so far has disengaged it, as to give us plain Sense; but by throwing out the Epithet ho y, 'tis evident, that he was not aware of the Poet's fine Meaning. I'll first establish and prove the Reading; then explain the Allusion. Thus the Poet gave it: Like rats, oft bite the holy Cords in twain, Too intrinsicate t'unloose &lblank; This Word again occurs in our Authour's Antony and Cleopatra, where she is speaking to the Aspick: Come, mortal wretch; With thy sharp Teeth this knot intrinsicate Of life at once untie. And we meet with it in Cynthia's Revels by Ben. Johnson. Yet there are certain punctilios, or, as I may more nakedly insinuate them, certain intrinsicate Strokes and Words, to which your Activity is not yet amounted, &c. It means, inward, hidden, perplext; as a Knot, hard to be unravell'd; it is deriv'd from the Latin adverb intrinsecus; from which the Italians have coin'd a very beautiful Phrase, intrinsicarsi col une, i.e. to grow intimate with, to wind one self into another. And now to our Author's Sense. Kent is rating the Steward, as a Parasite of Gonerill's; and supposes very justly, that he has fomented the Quarrel betwixt that Princess and her Father: in which office he compares him to a sacrilegious Rat: and by a fine Metaphor, as Mr. Warburton observ'd to me, stiles the Union between Parents and Children the holy Cords. Theobald. Like rats, oft bite the holy cords in twain Too intrinsicate t'unloose: &lblank;] By these holy cords the Poet means the natural union between parents and children. The metaphor is taken from the cords of the sanctuary; and the fomenters of family differences are compared to these sacrilegious rats. The expression is fine and noble. Warburton.

Note return to page 103 2&lblank; epileptick visage!] The frighted countenance of a man ready to fall in a fit.

Note return to page 104 3&lblank; Camelot] Was the place where the romances say, King Arthur kept his court in the west; so this alludes to some proverbial speech in those romances. Warb. In Somersetshire near Camelot are many large moors where are bred great quantities of geese, so that many other places are from hence supplied with quills and feathers. Hanmer.

Note return to page 105 4&lblank; constrains the garb Quite from his nature.] Forces his outside or his appearance to something totally different from his natural disposition.

Note return to page 106 5Than twenty silly ducking observants,] The epithet silly cannot be right. 1st, Because Cornwall, in this beautiful speech, is not talking of the different success of these two kind of parasites, but of their different corruption of heart. 2. Because he says these ducking observants know how to stretch their duties nicely. I am persuaded we should read, Than twenty silky ducking observants, Which not only alludes to the garb of a court sycophant, but admirably well denotes the smoothness of his character. But what is more, the poet generally gives them this epithet in other places. So in Richard III. he calls them &lblank; Silky, sly, insinuating Jacks. And in Coriolanus. &lblank; when steel grows Soft as the parasite's silk, &lblank; Warburton. The alteration is more ingenious than the arguments by which it is supported.

Note return to page 107 *though I should win your displeasure to intreat me to't.] Though I should win you, displeased as you now are, to like me so well as to intreat me to be a knave.

Note return to page 108 6Will not be rubb'd nor stop'd &lblank;] Metaphor from bowling. Warb.

Note return to page 109 7Good King, that must approve the common Saw,] That art now to exemplify the common proverb, That out of, &c. That changest better for worse. Hanmer observes, that it is a proverbial saying, applied to those who are turned out of house and home to the open weather. It was perhaps first used of men dismissed from an hospital, or house of charity, such as was erected formerly in many places for travellers. Those houses had names properly enough alluded to by Heaven's Benediction.

Note return to page 110 8I know, 'tis from Cordelia, &c.] This passage, which some of the editors have degraded, as spurious, to the margin, and others have silently altered, I have faithfully printed according to the quarto, from which the folio differs only in punctuation. The passage is very obscure, if not corrupt. Perhaps it may be read thus: —Cordelia—has been—informed. Of my obscured course, and shall find time From this enormous state-seeking, to give Losses their remedies. Cordelia is informed of our affairs, and when the enormous care of seeking her fortune will allow her time, she will employ it in remedying losses. This is harsh; perhaps something better may be found. I have at least supplied the genuine reading of the old copies. Enormous is unwonted, out of rule, out of the ordinary course of things.

Note return to page 111 9Poor pelting villages, &lblank;] Pelting is used by Shakespear in the sense of beggarly: I suppose from pelt a skin. The poor being generally clothed in leather. Warburton. Pelting is, I believe, only an accidental depravation of petty. Shakespeare uses it in the Midsummer-Night's dream of small brooks.

Note return to page 112 1&lblank; poor Turlygood! poor Tom!] We should read Turlupin. In the fourteenth century there was a new species of gipsies, called Turlupins, a fraternity of naked beggars, which ran up and down Europe. However, the Church of Rome hath dignified them with the name of Hereticks, and actually burn'd some of them at Paris. But what sort of Religionists they were, appears from Genebrard's account of them. Turlupin Cynicorum sectam suscitantes, de nuditate pudendorum, &c publico coitu. Plainly, nothing but a band of Tom-o'-Bedlams. Warburton. Hanmer reads, poor Turlurù. It is probable the word Turly-good was the common corrupt pronunciation.

Note return to page 113 2&lblank; Edgar I nothing am.] As Edgar I am out-lawed, dead in law; I have no longer any political existence.

Note return to page 114 *Earl of Glo'ster's Castle.] It is not very clearly discovered why Lear comes hither. In the foregoing part he sent a letter to Glo'ster, but no hint is given of its contents. He seems to have gone to visit Glo'ster while Cornwall and Regan might prepare to entertain him.

Note return to page 115 3To do upon respect such violent outrage.] To violate the publick and venerable character of a messenger from the King.

Note return to page 116 4Deliver'd letters spight of intermission,] Intermission, for another message which they had then before them, to consider of; called intermission, because it came between their leisure and the Steward's message. Warb.

Note return to page 117 5They summon'd up their meiny, &lblank;] Meiny, i. e. people. Pope.

Note return to page 118 *Winter's not gone yet, &c.] If this be their behaviour, the King's troubles are not yet at an end.

Note return to page 119 6dolours] Quibble intended between dolours and dollars. Hanmer.

Note return to page 120 7All, that follow their noses are led by their eyes, but blind men; and there's not a nose among twenty, but can smell, &c.] There is in this sentence no clear series of thought. If he that follows his nose is led or guided by his eyes, he wants no information from his nose. I persuade myself, but know not whether I can persuade others, that our authour wrote thus: All men are led by their eyes, but blind men, and they follow their noses, and there's not a nose among twenty but can smell him that's stinking. Here is a succession of reasoning. You ask, why the King has no more in his train? why, because men who are led by their eyes see that he is ruined, and if there were any blind among them, who, for want of eyes, followed their noses, they might by their noses discover that it was no longer fit to follow the King.

Note return to page 121 8When a wise man gives thee, &c.] One cannot too much commend the caution which our moral poet uses, on all occasions, to prevent his sentiments from being perversly taken. So here, having given an ironical precept in commendation of perfidy and base desertion of the unfortunate, for fear it should be understood seriously, tho' deliver'd by his buffoon or jester, he has the precaution to add this beautiful corrective, full of fine sense: I would have none but knaves follow it, since a fool gives it. Warburton.

Note return to page 122 9But I will tarry, the fool will stay, And let, &c.] I think this passage erroneous, though both the copies concur. The sense will be mended if we read, But I will tarry; the fool will stay, And let the wise man fly; The fool turns knave, that runs away; The knave no fool, &lblank; That I stay with the King is a proof that I am a fool, the wise men are deserting him. There is knavery in this desertion, but there is no folly.

Note return to page 123 *Is practice only.] Practice is in Shakespeare, and other old writers, used commonly in an ill sense for unlawful artifice.

Note return to page 124 1the Eels, when she put them i'th' Pasty] Hinting that the Eel and Lear are in the same danger.

Note return to page 125 2&lblank; she hath tide Sharp-tooth'd unkindness like a vulture here;] Alluding to the fable of Prometheus. Warb.

Note return to page 126 3Of how deprav'd a quality] Thus the quarto. The folio reads, With how deprav'd a quality.

Note return to page 127 4Than she to scant her duty] The word scant is directly contrary to the sense intended. The quarto reads, &lblank; slack her duty, which is no better. May we not change it thus: You less know how to value her desert, Than she to scan her duty. To scan may be to measure or proportion. Yet our authour uses his negatives with such licentiousness, that it is hardly safe to make any alteration.

Note return to page 128 5Do you but mark how this becomes the House?] This Phrase to me is unintelligible, and seems to say nothing to the purpose: Neither can it mean, how this becomes the Order of Families. Lear would certainly intend to reply, how does asking my Daughters Forgiveness agree with common Fashion, the established Rule and Custom of Nature? No Doubt, but the Poet wrote, becomes the Use. And that Shakespeare employs Use in this Signification, is too obvious to want a Proof. Theob. Do you but mark, how this becomes the House.] Mr. Theobald says, This phrase seems to say little to the purpose; and therefore alters it to, &lblank; becomes the use, which signifies less. The Oxford Editor makes him still more familiar—becometh us. All this chopping and changing proceeds from an utter ignorance of a great, a noble, and a most expressive phrase, &lblank; becomes the House; which signifies the order of families, duties of relation. Warb. With this most expressive phrase I believe no reader is satisfied. I suspect that it has been written originally, Ask her forgiveness? Do you but mark how this becometh—thus. Dear daughter, I confess, &c. Becomes the house, and becometh thus, might be easily confounded by readers so unskilful as the original printers.

Note return to page 129 6Age is unnecessary.] That is, old age has few wants.

Note return to page 130 7Look'd black upon me.] This is a Phrase which I do not understand; but to look blank is a known Expression, signifying, either to give discouraging Looks to another, or to stand dismay'd and disappointed one's self. The Poet means, that Gonerill gave him cold looks, as he before phrases it. Theob. Look'd black upon me;] So all the editions. Mr. Theobald alters it to blank. A small alteration, only turning black to white. His reason is, because to look black upon him is a phrase he does not understand. I believe so. But it alludes to a serpent's turning black, when it swells with rage and venom, the very creature to which Lear here compares his daughter. Warburton. To look black, may easily be explained to look clowdy or gloomy. See Milton: So frown'd the mighty combatants, that hell Grew darker at their frown.

Note return to page 131 8To fall, and blast her pride.] Thus the quarto: the folio reads not so well, to fall and blister. I think there is still a fault, which may be easily mended by changing a letter. &lblank; Infect her beauty Ye fen-suck'd fogs, drawn by the pow'rful sun, Do, fall, and blast her pride.

Note return to page 132 *&lblank; tender hefted] This word, though its general meaning be plain, I do not critically understand.

Note return to page 133 9&lblank; to scant my sizes,] To contract my allowances or proportions settled.

Note return to page 134 1If you do love old men, if your sweet sway Allow obedience, if your selves are old,] Could it be a question whether heaven allowed obedience? The poet wrote, hallow obedience. &lblank; i. e. if paternal government here be so much the image of the mild government of heaven, that it sanctifies the obedience due to parents, and esteems the violaters of it impious, make it your cause. He adds, if yourselves are old. This perhaps may appear low and ridiculous to the unlearned reader; but we are to consider this pagan King as alluding to the ancient heathen Theology, which teaches that Cœlus, or Ouranus, or Heaven, was deposed by his son Saturn, who rebelled and rose in arms against him. His case then being the same with Lear's, he was the fittest to be addressed to on this occasion. Warb. Mr. Upton has proved by irresistible authority, that to allow signifies not only to permit but to approve, and has deservedly replaced the old reading,

Note return to page 135 2&lblank; much less advancement.] The word advancement is ironically used here for conspicuousness of punishment; as we now say, a man is advanced to the pillory. We should read, &lblank; but his own disorders Deserv'd much more advancement.

Note return to page 136 3I pray you, Father, being weak, seem so.] This is a very odd request. She surely asked something more reasonable. We should read, &lblank; being weak, deem't so. i. e. believe that my husband tells you true, that Kent's disorders deserved a more ignominious punishment. Warburton. The meaning is, since you are weak, be content to think yourself weak. No change is needed.

Note return to page 137 4No, rather I abjure all roofs, and chuse To wage against the enmity o'th' air; To be a comrade with the wolf and owl, Necessity's sharp pinch! &lblank;] Thus should these lines (in the order they were read, in all the editions till Mr. Theobald's) be pointed. The want of which pointing contributed, perhaps, to mislead him in transposing the second and third lines, on which imaginary regulation he thus descants, The breach of the sense here is a manifest proof that these lines were transposed by the first Editors. Neither can there be any syntax or grammatical coherence, unless we suppose [necessity's sharp pinch] to be the accusative to [wage.]—But this is supposing the verb wage, to want an accusative, which it does not. To wage, or wager against any one, was a common expression; and, being a species of acting, (namely, acting in opposition) was as proper as to say, act against any one. So, to wage against the enmity o'th'air, was to strive or fight against it. Necessity's sharp pinch, therefore, is not the accusative to wage, but declarative of the condition of him who is a comrade of the wolf and owl: in which the verb [is] is understood. The consequence of all this is, that it was the last editors, and not the first, who transposed the lines from the order the Poet gave them. For the Oxford Editor follows Mr. Theobald. Warburton.

Note return to page 138 *&lblank; base life] That is, in a servile state.

Note return to page 139 †&lblank; imbossed carbuncle,] Imbossed is swelling, protuberant.

Note return to page 140 5Those wicked creatures yet do look well-favour'd, When others are more wicked.] As a little before, in the text [like flatterers] the editors had made a similitude where the author intended none; so here, where he did, they are not in the humour to give it us, because not introduced with the formulary word, like. Lear's second daughter proving still more unkind than the first, he begins to entertain a better opinion of this from the other's greater degree of inhumanity; and expresses it by a similitude taken from the deformities which old age brings on. Those wrinkled creatures yet do look well-favour'd, When others are more wrinkled: &lblank; For so, instead of wicked, it should be read in both places: which correction the word well-favour'd might have led to Lear considers the unnatural behaviour of his daughters under this idea, both in and out of his senses. So again, speaking of them, in his distraction, he says, And here's another whose warpt looks proclaim what store her heart is made of. Shakespear has the character of a very incorrect writer, and so, indeed, he is. But this character being received, as well as given, in the lump, has made him thought an unfit subject for critical conjecture: which perhaps may be true, with regard to those who know no more of his genius than a general character of it conveys to them. But we should distinguish. Incorrectness of stile may be divided into two parts: an inconsistency of the terms employed with one another; and an incongruity in the construction of them. In the first case he is rarely faulty; in the second, negligent enough. And this could hardly be otherwise. For his ideas being the clearest, and his penetration in discovering their agreement, disagreement, and relation to each other, the deepest that ever was in any Poet, his terms of course must be well put together: Nothing occasioning the jumbling of discordant terms, from broken metaphors, but the cloudiness of the understanding, and the consequent obscurity of the ideas: Terms being nothing but the painting of ideas, which he, who sees clearly, will never employ in a discordant colouring. On the contrary, a congruity in the construction of these terms (which answers to drawing, as the use of the term does to colouring) is another thing. And Shakespear, who owed all to nature, and was hurried on by a warm attention to his ideas, was much less exact in the construction and grammatical arrangement of his words. The conclusion is, that where we find gross inaccuracies, in the relation of terms to one another, there we may be confident, the text has been corrupted by his editors: and, on the contrary, that the offences against syntax are generally his own. Had the Oxford Editor attended to this distinction, he would not perhaps have made it the principal object in his restored Shakespear, to make his author always speak in strict grammar and measure. But it is much easier to reform such slips as never obscure the sense, and are set right by a grammar-rule or a finger-end, than to reduce a depraved expression, which makes nonsense of a whole sentence, and whose reformation requires you to enter into the author's way of thinking. Warburton. I have given this long note, because the editor seems to think his correction of great importance. I was unwilling to deny my reader any opportunity of conviction which I have had myself, and which perhaps may operate upon him, though it has been ineffectual to me, who, having read this elaborate and ostentatious remark, still think the old reading best. The commentator's only objection to the lines as they now stand, is the discrepancy of the metaphor, the want of opposition between wicked and well-favoured. But he might have remembered what he says in his own preface concerning mixed modes. Shakespeare, whose mind was more intent upon notions than words, had in his thoughts the pulchritude of virtue, and the deformity of wickedness; and though he had mentioned wickedness made the correlative answer to deformity.

Note return to page 141 6The quarto has, poor, old fellow.

Note return to page 142 7&lblank; touch me with noble anger.] It would puzzle one at first to find the sense, the drift, and the coherence of this petition. For if the Gods sent this evil for his punishment, how could he expect that they should defeat their own design, and assist him to revenge his injuries? The solution is, that Shakespeare here makes his speaker allude to what the ancient poets tell us of the misfortunes of particular families: Namely, that when the anger of the Gods, for an act of impiety was raised against an offending house, their method of punishment was, first to inflame the breasts of the children to unnatural acts against their Parents; and then, of the parents against their children, in order to destroy one another: and that both these outrages were the instigation of the Gods. To consider Lear as alluding to this divinity, makes his prayer exceeding pertinent and fine. Warburton.

Note return to page 143 8&lblank; tears his white hair;] The six following verses were omitted in all the late Editions: I have replaced them from the first, for they are certainly Shakespear's. Pope. The first folio ends the speech at change, or cease, and begins again with Kent's question, but who is with him? The whole speech is forcible, but too long for the occasion, and properly retrenched.

Note return to page 144 9This night wherein the Cubdrawn bear would couch.] Cubdrawn has been explained to signify drawn by nature to its young: whereas it means, whose dugs are drawn dry by its young. For no animals leave their dens by night but for prey. So that the meaning is, “that even hunger, and the support of its young, would not force the bear to leave his den in such a night.” Warburton.

Note return to page 145 1&lblank; my note,] My observation of your character.

Note return to page 146 2Who have, as who have not &lblank;] The eight subsequent Verses were degraded by Mr. Pope, as unintelligible, and to no purpose. For my part, I see nothing in them but what is very easy to be understood; and the Lines seem absolutely necessary to clear up the Motives, upon which France prepared his Invasion: nor without them is the Sense of the Context compleat. Theobald.

Note return to page 147 3But true it is, &c.] In the old editions are the five following lines which I have inserted in the text, which seem necessary to the plot, as a preparatory to the arrival of the French army with Cordelia in Act 4. How both these, and a whole scene between Kent and this gentleman in the fourth act, came to be left out in all the later editions, I cannot tell: they depend upon each other, and very much contribute to clear that incident. Pope.

Note return to page 148 4&lblank; from France there comes a power Into this scatter'd kingdom; who already, Wise in our negligence, have secret sea In some of our best ports &lblank;] Scatter'd kingdom, if it have any sense, gives us the idea of a kingdom fallen into an anarchy: But that was not the case. It submitted quietly to the government of Lear's two sons-in law. It was divided, indeed, by this means, and so hurt, and weaken'd. And this was what Shakespear meant to say, who, without doubt, wrote, &lblank; scathed kingdom. &lblank; i. e. hurt, wounded, impaired. And so he frequently uses scath for hurt or damage. Again, what a strange phrase is, having sea in a port, to signify a fleet's lying at anchor? which is all it can signify. And what is stranger still, a secret sea, that is, lying incognito, like the army at Knight's-bridge in the Rehearsal. Without doubt the poet wrote, &lblank; have secret seize In some of our best ports &lblank; i. e. they are secretly secure of some of the best ports, by having a party in the garrison ready to second any attempt of their friends, &c. The exactness of the expression is remarkable; he says, secret seize in some, not of some. For the first implies a conspiracy ready to seize a place on warning, the other, a place already seized. Warburton. The true state of this speech cannot from all these notes be discovered. As it now stands it is collected from two editions: the lines which I have distinguished by Italicks are found in the folio, not in the quarto; the following lines inclosed in crotchets are in the quarto, not in the folio. So that if the speech be read with omissions of the Italicks, it will stand according to the first edition; and if the Italicks are read, and the lines that follow them omitted, it will then stand according to the second. The speech is now tedious because it is formed by a coalition of both. The second edition is generally best, and was probably nearest to Shakespeare's last copy, but in this passage the first is preferable; for in the folio, the messenger is sent, he knows not why, he knows not whither. I suppose Shakespeare thought his plot opened rather too early, and made the alteration to veil the event from the audience; but trusting too much to himself, and full of a single purpose, he did not accommodate his new lines to the rest of the scene. The learned critick's emendations are now to be examined. Scattered he has changed to scathed; for scattered, he says, gives the idea of an anarchy, which was not the case. It may be replied that scathed gives the idea of ruin, waste and desolation, which was not the case. It is unworthy a lover of truth, in questions of great or little moment, to aggravate or extenuate for mere convenience, or for vanity yet less than convenience. Scattered naturally means divided, unsettled, disunited. Next is offered with great pomp a change of sea to seize, but in the first edition the word is fee, for hire, in the sense of having any one in fee, that is, at devotion for money. Fee is in the second quarto changed to see, from which one made sea and another seize.

Note return to page 149 5&lblank; for which you take That way, I this:] The quarto reads, &lblank; the King. I'll this way. You that &lblank; The folio, &lblank; the King, in which your pain That way, I'll this: He that first, &c. So that the present reading is conjectural.

Note return to page 150 *&lblank; thought-executing &lblank;] Doing execution with rapidity equal to thought.

Note return to page 151 6Crack Nature's Mould all Germains spill at once] Thus all the Editions have given us this Passage, and Mr. Pope has explain'd Germains to mean relations, or kindred Elements. But the Poet means here, “Crack Nature's Mould, and spill all the Seeds of Matter, that are hoarded within it.” To retrieve which Sense, we must write Germins, from Germen. Our Author not only uses the same Thought again, but the Word that ascertains my Explication. In Winter's Tale; Let Nature crush the Sides o'th' Earth together, And marr the Seeds within. Theobald.

Note return to page 152 7You owe me no subscription.] Subscription, for obedience. War.

Note return to page 153 8&lblank; here I stand your slave;] But why so? It is true, he says, that they owed him no subscription; yet sure he owed them none. We should read, &lblank; here I stand your brave; i. e. I defy your worst rage, as he had said just before. What led the editors into this blunder was what should have kept them out of it, namely the following line, A poor, infirm, weak, and despis'd old man! And this was the wonder, that such a one should brave them all. Warburton. The meaning is plain enough, he was not their slave by right or compact, but by necessity and compulsion. Why should a passage be darkened for the sake of changing it? Besides of Brave in that sense I remember no example.

Note return to page 154 *&lblank; 'tis foul.] Shameful; dishonourable.

Note return to page 155 *So beggars marry many.] That is, a beggar marries a wife and lice.

Note return to page 156 9Gallow the very wand'rers of the dark,] Gallow, a west-country word, signifies to scar or frighten. Warburton.

Note return to page 157 1So the folio, the later editions read, with the quarto, force for fear, less elegantly.

Note return to page 158 2&lblank; thou Simular of virtue,] Shakespear has here kept exactly to the Latin propriety of the term. I will only observe, that our author seems to have imitated Skelton in making a substantive of Simular, as the other did of Dissimular, With other foure of theyr affynyte, Dysdayne, ryotte, Dissymuler, subtylte. The bouge of Courte. Warburton.

Note return to page 159 3That under covert and convenient seeming] This may be right. And if so, convenient is used for commodious or friendly. But I rather think the poet wrote, That under cover of convivial seeming, i. e. under cover of a frank, open, social conversation. This raises the sense, which the poet expresses more at large in Timon of Athens, where he says, &lblank; The fellow that Sits next him now, parts bread with him, and pledges The breath of him in a divided draught; Is th' readiest man to kill him. &lblank; Warburton. Convenient needs not be understood in any other than its usual and proper sense; accommodate to the present purpose; suitable to a design. Convenient seeming is appearance such as may promote his purpose to destroy.

Note return to page 160 4&lblank; concealing continents &lblank;] Continent stands for that which contains or incloses.

Note return to page 161 5&lblank; one part in my heart,] Some editions read, &lblank; thing in my heart, from which Hanmer, and Dr. Warburton after him, have made string, very unnecessarily; both the copies have part.

Note return to page 162 6He that has but a little tyny wit,] I fancy that the second line of this stanza had once a termination that rhymed with the fourth; but I can only fancy it; for both the copies agree. It was once perhaps written, With heigh ho, the wind and the rain in his way. The meaning seems likewise to require this insertion. He that has wit, however small, and finds wind and rain in his way, must content himself by thinking, that somewhere or other it raineth every day, and others are therefore suffering like himself.

Note return to page 163 7I'll speak a prophecy or ere I go; When priests are more in words than matter; When brewers marr their malt with water; When nobles are their tailors' tutors; No hereticks burn'd, but wenches' suitors; When every case in law is right, No 'Squire in debt, nor no poor Knight; When slanders do not live in tongues, And cut-purses come not to throngs; When usurers tell their gold i'th' fie d, And bawds, and whores, do churches build: Then shall the realm of Albion Come to great confusion. Then comes the time, who lives to see't, That Going shall be us'd with feet.] The judicious reader will observe through this heap of nonsense and confusion, that this is not one, but two prophecies. The first, a satyrical description of the present manners as future: And the second, a satyrical description of future manners, which the corruption of the present would prevent from ever happening. Each of these prophecies has its proper inference or deduction: yet, by an unaccountable stupidity, the first editors took the whole to be all one prophecy, and so jumbled the two contrary inferences together. The whole then should be read as follows, only premising that the first line is corrupted by the loss of a word—or ere I go, is not English, and should be helped thus, 1. I'll speak a prophecy or two ere I go. When priest are more in words than matter, When brewers marr their malt with water; When nobles are their tailors' tutors; No hereticks burnt, but wenches' suitors; Then comes the time, who lives to see't, That Going shall be us'd with feet. i. e. Now. 2. When every c se in law is right No squire in debt, and no poor knight; When slanders do not live in tongues; And cut-purses come not to throngs; When usurers tell their gold i'th' field; And bawds and whores do churches build: Then shall the realm of Albion Come to great confusion. i. e. Never. The sagacity and acuteness of Dr. Warburton are very conspicuous in this note. He has disentangled the confusion of the passage, and I have inserted his emendation in the text. Or e'er is proved by Mr. Upton to be good English, but the controversy was not necessary, for or is not in the old copies.

Note return to page 164 8When nobles are their tailors' tutors;] i. e. invent fashions for them. Warburton.

Note return to page 165 9No hereticks burnt, but wenches' suitors;] The disease to which wenches suitors are particularly exposed, was called in Shakespeare's time the brenning or burning.

Note return to page 166 1In, boy, go first.] These two lines were added in the authour's revision, and are only in the folio. They are very judiciously intended to represent that humility, or tenderness, or neglect of forms, which affliction forces on the mind.

Note return to page 167 2Humph, go to thy bed] So the folio. The quarto, Go to thy cold bed and warm thee.

Note return to page 168 3led through fire and through flame,] Alluding to the ignis fatuus, supposed to be lights kindled by mischievous beings to lead travellers into destruction.

Note return to page 169 4laid knives under his pillow,] He recounts the temptations by which he was prompted to suicide; the opportunities of destroying himself which often occurred to him in his melancholy moods.

Note return to page 170 5taking.] To take is to blast, or strike with malignant influence. &lblank; strike her young limbs Ye taking airs with lameness.

Note return to page 171 *&lblank; pelican daughters.] The young pelican is fabled to suck the mother's blood.

Note return to page 172 6wore gloves in my cap.] That is, his Mistress's favours: which was the fashion of that time. So in the play called Campaspe, Thy men turned to women, thy soldiers to lovers, gloves worn in velvet caps, instead of plumes in graven helmets. Warburton.

Note return to page 173 7light of ear,] i. e. credulous. Warburton.

Note return to page 174 8says suum, mun, nonny, &c] Of this passage I can make nothing. I believe it corrupt: for wildness, not nonsense, is the effect of a disordered imagination. The quarto reads, hay no on ny, Dolphins, my boy, cease, let him trot by. Of interpreting this there is not much hope or much need. But any thing may be tried. The mad man, now counterfeiting a proud fit, supposes himself met on the road by some one that disputes the way, and cries Hey!—No— but altering his mind condescends to let him pass, and calls to his boy Dolphin [Rodolph] not to contend with him. On— Dolphin, my boy, cease. Let him trot by.

Note return to page 175 *web and pin,] Diseases of the eye.

Note return to page 176 9Swithold footed thrice the old,] The old, my ingenious Friend, Mr. Bish p says, must be Wold, which signifies a Down, or Ground, hilly and void of Wood. Theobald. Saint Withold footed thrice the wold, He met the night-mare, and her nine-fold, Bid her alight, and her troth plight, And aroynt thee, witch, aroynt thee*] We should read it thus, Saint Withold footed thrice the wold, He met the night-mare, and her name told, Bid her alight, and her troth plight, And aroynt thee, witch, aroynt thee right. i. e. Saint Withold traversing the Wold or Downs, met the nightmare; who having told her name, he obliged her to alight from those persons whom she rides, and plight her troth to do no more mischief. This is taken from a story of him in his legend. Hence he was invoked as the patron saint against that distemper. And these verses were no other than a popular charm, or night spell against the Epialtes. The last line is the formal execration or apostrophe of the speaker of the charm to the witch, aroynt thee right, i. e. depart forthwith. Bedlams, Gipsies, and such like vagabonds, used to sell these kind of spells or charms to the people. They were of various kinds for various disorders. We have another of them in the Monsieur Thomas of Fletcher, which he expressly calls a night-spell, and is in these words, Saint George, Saint George, our Lady's Knight, He walks by day, so he does by night; And when he had her found, He her beat and her bound; Until to him her troth she plight, She would not stir from him that night. Warburton. In the old quarto the corruption is such as may deserve to be noted. Swithold footed thrice the old another night Moore and her nine fold bid her, O light, and her troth plight, and arint thee, with arint thee.

Note return to page 177 2&lblank; small deer] Sir Thomas Hanmer reads geer, and is followed by Dr. Warburton. But deer in old language is a general word for wild animals.6Q0203

Note return to page 178 3Child Rowland &lblank;] In the old times of chivalry, the noble youth who were candidates for knighthood, during the season of their probation, were called Infans, Varlets, Damoysels, Bacheliers. The most noble of the youth particularly, Infans. Here a story is told, in some old ballad, of the famous hero and giant killer Roland, before he was knighted, who is, therefore, called Infans; which the ballad maker translated, Child Roland. Warburton. This word is in some of our ballads. There is a song of Child Walter, and a Lady.

Note return to page 179 4but a provoking merit,] i. e. a merit which being neglected by the father, was provoked to an extravagant act. The Oxford Editor, not understanding this, alters it to provoked spirit. Warburton.

Note return to page 180 5comforting] He uses the word in the juridical sense for supporting, helping, according to its derivation; salvia confortat ne vos. Schol. Sal.

Note return to page 181 6Come hizzing in upon 'em &lblank;] Then follow in the old edition several speeches in the mad way, which probably were left out by the Players, or by Shakespear himself; I shall however insert them here, and leave them to the reader's mercy. Pope. As Mr. Pope had begun to insert several Speeches in the mad way, in this Scene, from the Old Edition; I have ventured to replace several others, which stand upon the same Footing, and had an equal Right of being restor'd. Theobald. What is omitted in the folio, and inserted from the older copy, I have printed in Italicks.

Note return to page 182 7the health of a horse,] Without doubt we should read heels, i. e. to stand behind him. Warburton. Shakespeare is here speaking not of things maliciously treacherous, but of things uncertain and not durable. A horse is above all other animals subject to diseases.

Note return to page 183 8Come o'er the Broom, Bessy, to me.] As there is no relation between broom and a boat, we may better read, Come o'er the brook, Bessy, to me.

Note return to page 184 9&lblank; brachy, or hym, &c.] Names of particular sorts of dogs. Pope. Sir T. Hanmer for hym reads lym.

Note return to page 185 1Here is Sessey again, which I take to be the French word cessez pronounced cessey, which was, I suppose, like some others in common use among us. It is an interjection enforcing cessation of any action, like, be quiet, have done. It seems to have been gradually corrupted into, so, so.

Note return to page 186 2Thy horn is dry.] Men that begged under pretence of lunacy used formerly to carry a horn, and blow it through the streets.

Note return to page 187 3&lblank; opprest Nature sleeps:] These two concluding Speeches by Kent and Edgar, and which by no means ought to have been cut off, I have restored from the Old Quarto. The Soliloquy of Edgar is extremely fine; and the Sentiments of it are drawn equally from Nature and the Subject. Besides, with regard to the Stage it is absolutely necessary: For as Edgar is not design'd, in the Constitution of the Play, to attend the King to Dover; how absurd would it look for a Character of his Importance to quit the Scene without one Word said, or the least Intimation what we are to expect from him? Theob. The lines inserted from the quarto are in Italicks. The omission of them in the folio is certainly faulty: yet I believe the folio is printed from Shakespeare's last revision, carelessly and hastily performed, with more thought of shortening the scenes, than of continuing the action.

Note return to page 188 *&lblank; free things,] States clear from distress.

Note return to page 189 †Mark the high noises,] Attend to the great events that are approaching, and make thyself known when that false opinion now prevailing against thee shall, in consequence of just proof of thy integrity, revoke its erroneous sentence, and recall thee to honour and reconciliation.

Note return to page 190 4&lblank; my Lord of Glo'ster.] Meaning Edmund, newly invested with his Father's titles. The Steward, speaking immediately after, mentions the old Duke by the same title.

Note return to page 191 *&lblank; corky arms.] Dry, withered, husky arms.

Note return to page 192 5By the kind gods, &lblank;] We are not to understand by this the Gods in general, who are beneficent and kind to men; but that particular species of them called by the ancients Dii hospitales, kind Gods. So Plautus in Pænulo, Deum hospitalem ac tesseram mecum fero, This was a beautiful exclamation, as those who insulted the speaker were his Guests, whom he had hospitably received into his house. But to say the truth, Shakespear never makes his people swear at random. Of his propriety in this matter take the following instances. In Troilus and Cressida, Æneas, in an expostulation with Diomede, swears by the hand of his mother Venus, as a covert reproof for Diomede's brutality in wounding the Goddess of Beauty in the hand, and a secret intimation that he would revenge her injuries. In Coriolanus when that Hero is exasperated at the fickle inconstant temper of the multitude, he swears by the clouds; and again when he meets his wife after a long absence, by the jealous Queen of Heaven; for Juno was supposed the aveng'ress of conjugal infidelity. In Othello the double Iago is made to swear by Janus. And in this very play of Lear, a pagan much given to judicial Astrology, very consonantly to his character, swears By all the operations of the orbs, By whom we do exist, and cease to be. Warb.6Q0204

Note return to page 193 6&lblank; my hospitable favours] It is nonsense to understand it of gifts, kindnesses, &c. We should read favour, i. e. visage. For they pluck'd him by the beard. Warburton.

Note return to page 194 7the course.] The running of the dogs upon me.

Note return to page 195 8&lblank; subscrib'd;] Yielded, submitted to the necessity of the occasion.

Note return to page 196 9I'll never care what Wickedness I do,] This short Dialogue I have inserted from the Old Quarto, because I think it full of Nature. Servants could hardly see such a Barbarity committed on their Master, without Pity; and the Vengeance that they presume must overtake the Actors of it, is a Sentiment and Doctrine well worthy of the Stage. Theobald. It is not necessary to suppose them the servants of Glo'ster; for Cornwall was opposed to extremity by his own servant.

Note return to page 197 1Yet better thus, and known to be contemn'd.] The meaning is, 'Tis better to be thus contemned, and known to yourself to be contemned. Or perhaps there is an errour, which may be rectified thus: Yet better thus unknown to be contemn'd. When a man divests himself of his real character he feels no pain from contempt, because he supposes it incurred only by a voluntary disguise which he can throw off at pleasure. I do not think any correction necessary.

Note return to page 198 2&lblank; World, World, O World! But that thy strange Mutations make us hate thee,] The Reading of this Passage has been explained, but not satisfactorily My Explanation of the Poet's Sentiment was, “If the Number of Changes and Vicissitudes, which happen in Life, did not make us wait, and hope for some Turn of Fortune for the better, we could never support the Thought of living to be Old, on any other Terms.” And our Duty, as human Creatures, is piously inculcated in this Reflexion of the Author. I read therefore, make us wait thee. Theobald. &lblank; O world! But that thy strange Mutations make us hate thee, Life would not yield to age.] The sense of this obscure passage is, O world! so much are human minds captivated with thy pleasures that were it not for those successive miseries, each worse than the other, which overload the scenes of life, we should never be willing to submit to death, tho' the infirmities of old age would teach us to chuse it as a proper asylum. Besides, by uninterrupted prosperity, which leaves the mind at ease, the body would generally preserve such a state of vigour as to bear up long against the decays of time. These are the two reasons, I suppose, why he said, Life would not yield to age. And how much the pleasures of the body pervert the mind's judgment, and the perturbations of the mind disorder the body's frame, is known to all. Warb. Yield to signifies no more than give way to, sink under, in opposition to the struggling with, bearing up against the infirmities of age. Sir T. Hanmer.

Note return to page 199 3Our mean secures us; &lblank;] i. e. moderate, mediocre condition. Warburton. Hanmer writes, by an easy change, meanness secures us. The two original editions have, Our meanes secure us. I do not remember that mean is ever used as a substantive for low fortune, which is the sense here required, nor for mediocrity, except in the phrase, the golden mean. I suspect the passage of corruption, and would either read, Our means seduce us. Our powers of body or fortune draw us into evils. Or, Our maims secure us. That hurt or deprivation which makes us defenceless, proves our safeguard. This is very proper in Glo'ster, newly maimed by the evulsion of his eyes.

Note return to page 200 4&lblank; who is't can say, I'm at the worst? &lblank; the worst is not, So long as we can say, this is the worst.] i. e. While we live; for while we yet continue to have a sense of feeling, something worse than the present may still happen. What occasion'd this reflexion was his rashly saying in the beginning of this scene, &lblank; To be worst, The lowest, most dejected thing of fortune, &c. The wretch, that thou hast blown unto the worst. Warburton.

Note return to page 201 5Ang'shing. Oxford Editor and Dr. Warburton.—Vulg. Ang'ring, rightly.

Note return to page 202 6&lblank; I cannot daub it &lblank;] i. e. Disguise. Warburton.

Note return to page 203 7possesses chamber-maids and waiting-women.] Shakespear has made Edgar, in his feigned distraction, frequently allude to a vile imposture of some English Jesuits, at that time much the subject of conversation; the history of it having been just then composed with great art and vigour of stile and composition by Dr. S. Harsenet, afterwards archbishop of York, by order of the Privy-Council, in a work intitled, A Declaration of egregious Popish impostures, to withdraw her Majesty's subjects from their Allegiance, &c. practised by Edmunds, alias Weston, a Jesuit, and divers Romish Priests his wicked associates. Printed 1603. The imposture was in substance this. While the Spaniards were preparing their Armado against England, the Jesuits were here busy at work to promote it, by making converts; one method they employed was to dispossess pretended demoniacks, by which artifice they made several hundred converts amongst the common people. The principal scene of this farce was laid in the family of one Mr. Edmund Peckham, a Roman Catholick, where Marwood, a servant of Anthony Babington's, (who was afterwards executed for treason) Trayford, an attendant upon Mr. Peckham, and Sarah and Friswood Williams, and Anne Smith, three chamber-maids in that family, came into the Priest's hands for cure. But the discipline of the patients was so long and severe, and the Priests so elate and careless with their success, that the plot was discovered on the confession of the parties concerned, and the contrivers of it deservedly punished. The five Devils here mentioned, are the names of five of those who were made to act in this farce upon the chamber-maids and waiting-women; and they were generally so ridiculously nicknamed, that Harsenet has one chapter on the strange names of their Devils; left, says he, meeting them otherwise by chance, you mistake them for the name of Tapster's or Jugglers. Warburton. The passage in Italicks is omitted in the folio, because I suppose as the story was forgotten, the jest was lost.

Note return to page 204 8Let the superfluous,] Lear has before uttered the same sentinent, which indeed cannot be too strongly impressed, though it may be too often repeated.

Note return to page 205 *That slaves your ordinance,] Superfluous is here used for one living in abundance. But the next line is corrupt. The only sense I know of, in which slaves your ordinance can be understood, is when men employ the form or semblance of religion to compass their ill designs. But this will not do here. Glo'ster is speaking of such who by an uninterrupted course of prosperity are grown wanton, and callous to the misfortunes of others; such as those who fearing no reverse, slight and neglect, and therefore may be said to brave the ordinance of heaven. Which is certainly the right reading. And this is the second time in which slaves has, in this play, been read for braves. Warb. The emendation is plausible, yet I doubt whether it be right. The language of Shakespeare is very licentious, and his words have often meanings remote from the proper and original use. To slave or beslave another is to treat him with terms of indignity; in a kindred sense, to slave the ordinance, may be, to slight or ridicule it.

Note return to page 206 1&lblank; our mild husband] It must be remembered that Albany, the husband of Gonerill, disliked, It in the end of the first act, the scheme of oppression and ingratitude.

Note return to page 207 2&lblank; I fear your disposition:] These and the speech ensuing are in the edition of 1608, and are but necessary to explain the reasons of the detestation which Albany here expresses to his wife. Pope.

Note return to page 208 3Cannot be border'd certain &lblank;] Certain, for within the bounds that nature prescribes. Warburton.

Note return to page 209 4She that herself will shiver, and disbranch,] Thus all the Editions, but the old quarto, that reads sliver, which is right. Shiver means to shake or fly a-pieces into splinters. As he says afterwards, Thou'd'st shiver'd like an egg. But sliver signifies to tear off or disbranch. So in Mackbeth, &lblank; slips of yew Sliver'd in the moon's e lipse. Warburton.

Note return to page 210 5From her material Sap, &lblank;] Thus the old Quarto; but material Sap is a Phrase that I don't understand. The Mother-Tree is the true technical Term; and considering, our Author has said but just above, That Nature, which contemns its Origine, there is little room to question but he wrote, From her maternal Sap. &lblank; Theobald. From her material sap, &lblank;] Thus all the Editions 'till Mr. Theobald's, who alters material to maternal; and for these wise reasons, Material sap, (says he) I own is a phrase that I don't understand. The mother-tree is the true technical term, and considering our author had said just before, That Nature, which contemns its origine—there is no room to question but he wrote, From her maternal sap. And to prove that we may say maternal sap, he gives many authorities from the classics, and says he could produce more, where words equivalent to maternal stock are used; which is quite another thing, as we shall now see. In making his emendation, the editor did not consider the difference between material sap and material body, or trunk or stock: The latter expression being indeed not so well; maternal being a properer epithet for body. But the first is right; and we should say, material sap, not maternal. For material sap signifies, that whereby a branch is nourished, and increases in bulk by fresh accession of matter. On which account material is elegant. Indeed sap, when applied to the whole tree, might be called maternal, but could not be so when applied to a branch only. For tho' sap might, in some sense, be said to be maternal to the tree, yet it is the tree that is maternal to the branch, and not the sap: but here the epithet is applied to the branch. From all this, we conclude that the old reading is the true. But what if, after all, material was used by the writers of these times in the very sense of maternal? It wou'd seem so by the title of an old English translation of Froissart's Chronicle, which runs in these words, Syr John Froissart's Chronicle translated out of Frenche into our material English Tongue by John Bouchier, printed 1525. Warburton. I suppose no reader doubts but the word should be maternal. Dr. Warburton has taken great pains without much success, and indeed without much exactness of attention, to prove that material has a more proper sense than maternal, and yet seems glad at last to infer from an apparent errour of another press that material and maternal mean the same.

Note return to page 211 6And come to deadly use.] Alluding to the use that witches and inchanters are said to make of wither'd branches in their charms. A fine insinuation in the speaker, that she was ready for the most unnatural mischief, and a preparative of the poet to her plotting with the bastard against her husband's life. Warb.

Note return to page 212 7A man, a Prince by him so benefited?] After this line, I suspect a line or two to be wanting, which upbraids her for her sister's cruelty to Glo'ster. And my reason is, that in her answer we find these words, Fools do these villains pity, who are punish'd Ere they have done their mischief &lblank; which evidently allude to Glo'ster's case. Now I cannot conceive that she would here apologize for what was not objected to her. But I suppose the Players thought the speech too long; which has occasion'd thro'out, and more particularly in this play, the retrenchment of numerous lines and speeches; many of which have been restored by the care and discernment of Mr. Pope. Warburton. Here is a pompous note to support a conjecture apparently erroneous, and confuted by the next scene, in which the account is given for the first time to Albany of Glo'ster's sufferings.

Note return to page 213 8Like monsters of the deep.] Fishes are the only animals that are known to prey upon their own species.

Note return to page 214 9Proper deformity &lblank;] i.e. diabolic qualities appear not so horrid in the devil to whom they belong, as in woman who unnaturally assumes them. Warburton.

Note return to page 215 1Thou changed, and self-cover'd thing!] Of these lines there is but one copy, and the editors are forced upon conjecture. They have published this line thus: Thou chang'd, and self-converted thing! &lblank; but I cannot but think that by self-cover'd the authour meant, thou that hast disguised nature by wickedness; thou that hast hid the woman under the fiend.

Note return to page 216 2One way, I like this well;] Gonerill is well pleased that Cornwall is destroyed, who was preparing war against her and her husband, but is afraid of losing Edmund to the widow.

Note return to page 217 3Scene III.] This Scene left out in all the common books, is restored from the old edition; it being manifestly of Shakespear's writing, and necessary to continue the story of Cordelia, whose behaviour is here most beautifully painted. Pope. This scene seems to have been left out only to shorten the play, and is necessary to continue the action. It is extant only in the quarto, being omitted in the first folio. I have therefore put it in Italicks.

Note return to page 218 4The Gentleman whom he sent in the foregoing act with letters to Cordelia.

Note return to page 219 5&lblank; her Smiles and Tears Were like a better day. &lblank;] It is plain, we should read, &lblank; a wetter may. &lblank; i. e. a spring season wetter than ordinary. Warburton.

Note return to page 220 6Made she no verbal question?] Why, what kind of question could she make but verbal? Does not the word question imply it? This is enough to prove something wrong. The answer shews where it is. For tho' the Gentleman says yes to the question; yet instead of proving his words, he runs out into a long story of Cordelia's complaints and exclamations. The question then evidently was, Made she no verbal quest? From questas, complaint, i. e. did she lament and complain in words? And this was a proper question, because she might have done it in sighs, and inarticulate exclamations. The answer too, is proper, and to the point, as the reader may see. But the editors not understanding the short word quest, lengthened it into one, they did: And so made Kent ask a nonsensical question, and the Gentleman give as impertinent an answer. Warb. I do not see the impropriety of verbal question: such pleonasms are common. So we say, my ears have heard, my eyes have beheld. Besides, where is the word quest to be found?

Note return to page 221 7And, Clamour-moisten'd,] Tho' Clamour may distort the mouth, it is not wont to moisten the eyes. Read clamour-motion'd, which conveys a very beautiful idea of grief in Cordelia, and exactly in character. She bore her grief hitherto, says the relater, in silence; but being no longer able to contain it, she flies away, and retires to her closet to deal with it in private. This he finely calls, Clamour-motion'd; or provok'd to a loud expression of her sorrow, which drives her from company. Warburton. It is not impossible, but Shakespeare might have form'd this fine Picture of Cordelia's Agony from Holy Writ, in the Conduct of Joseph; who, being no longer able to restrain the Vehemence of his Affection, commanded all his Retinue from his Presence; and then wept aloud, and discovered himself to his Brethren. Theobald. After all that has been said, the sense is good of the old reading. Clamour moisten'd her, that is, her outcries were accompanied with tears.

Note return to page 222 8&lblank; one self mate and mate] The same husband and the same wife.

Note return to page 223 9&lblank; These things sting him So venomously, that burning shame &lblank;] The metaphor here preserved with great knowledge of nature. The venom of poisonous animals being a high caustic salt, that has all the effect of fire upon the part. Warburton.

Note return to page 224 1'Tis so they are on foot.] Dr. Warburton thinks it necessary to read, 'tis said, but the sense is plain. So it is that they are on foot.

Note return to page 225 2With bardocks, hemlock, &c.] I do not remember any such plant as a hardock, but one of the most common weeds is a burdock, which I believe should be read here, and so Hanmer reads.

Note return to page 226 3&lblank; the means to lead it.] The reason which should guide it.

Note return to page 227 *Important, as in other places of this authour, for importunate.

Note return to page 228 4No blown ambition &lblank;] No inflated, no swelling pride. Beza on the Spanish Armada. Quam bene te ambitio mersit vanissima, ventus, Et tumidos tumidæ vos superastis aquæ.

Note return to page 229 5&lblank; your Lady &lblank;] The folio reads, your Lord, but Lady is the first and better reading

Note return to page 230 *Let me unseal, &c.] I know not well why Shakespeare gives the Steward, who is a mere factor of wickedness, so much fidelity. He now refuses the letter, and afterwards, when he is dying, thinks only how it may be safely delivered.

Note return to page 231 6&lblank; I do advise you, take this note.] Note means in this place not a letter but a remark. Therefore observe what I am saying.

Note return to page 232 7&lblank; You may gather more.] You may infer more than I have directly told you.

Note return to page 233 8What party] Quarto, what Lady.

Note return to page 234 9This scene and the stratagem by which Glo'ster is cured of his desperation, are wholly borrowed from Sidney's Arcadia.

Note return to page 235 1&lblank; thy voice is alter'd, &c.] Edgar alters his voice in order to pass afterwards for a malignant spirit.

Note return to page 236 2&lblank; How fearful And dizzy 'tis, to cast one's eyes so low!] This description has been much admired since the time of Addison, who has remarked, with a poor attempt at pleasantry, that he who can read it without being giddy has a very good head, or a very bad one. The description is certainly not mean, but I am far from thinking it wrought to the utmost excellence of poetry. He that looks from a precipice finds himself assailed by one great and dreadful image of irresistible destruction. But this overwhelming idea is dissipated and enfeebled from the instant that the mind can restore itself to the observation of particulars, and diffuse its attention to distinct objects. The enumeration of the choughs and crows, the samphire-man and the fishers, counteracts the great effect of the prospect, as it peoples the desert of intermediate vacuity, and stops the mind in the rapidity of its descent through emptiness and horrour.

Note return to page 237 3&lblank; her cock; &lblank;] Her cockboat.

Note return to page 238 4&lblank; for all below the moon Would I not leap upright.] But what danger in leaping upright or upwards? He who leaps thus must needs fall again on his feet upon the place from whence he rose. We should read, Would I not leap outright. i. e. forward: and then being on the verge of a precipice he must needs fall headlong. Warb.

Note return to page 239 5&lblank; when life itself Yields to the theft. &lblank;] When life is willing to be destroyed.

Note return to page 240 6Thus might he poss, indeed &lblank;] Thus he might die in reality. We still use the word passing bell.

Note return to page 241 7Ten masts at each make not the altitude,] So Mr. Pope found it in the old editions; and seeing it corrupt, judiciously corrected it to attacht. But Mr. Theobald restores again the old nonsense, at each. Warb. Mr. Pope's conjecture may stand if the word which he uses were known in our authour's time, but I think it is of later introduction. We may say, Ten masts on end &lblank;

Note return to page 242 *&lblank; chalky bourn!] Bourn seems here to signify a hill. Its common signification is a brook. Milton in Comus uses bosky bourn in the same sense perhaps with Shakespeare. But in both authours it may mean only a boundary.

Note return to page 243 8&lblank; the clearest gods, &lblank;] The purest; the most free from evil.

Note return to page 244 *Bear free and patient thoughts.] To be melancholy is to have the mind chained down to one painful idea, there is therefore great propriety in exhorting Glo'ster to free thoughts, to an emancipation of his soul from grief and despair.

Note return to page 245 9The safer sense will ne'er accommodate His master thus.] Without doubt Shakespear wrote, &lblank; the sober sense, i. e. while the understanding is in a right frame it will never thus accommodate its owner: alluding to Lear's extravagant dress. Thence he concludes him to be mad. Warburton. I read rather, The saner sense will ne'er accommodate His master thus. Here is Lear, but he must be mad, his sound or sane senses would never suffer him to be thus disguised.

Note return to page 246 1That fellow handles his Bow like a Crow-keeper.] Mr. Pope in his last Edition reads Cow-keeper. 'Tis certain we must read Crowkeeper. In several Counties to this day, they call a stuff'd Figure, representing a Man, and arm'd with a Bow and Arrow, set up to fright the Crows from the Fruit and Corn, a Crow-keeper, as well as a Scare-crow. Theobald. This crow-keeper was so common in the authour's time, that it is one of the few peculiarities mentioned by Ortelius in his account of our island.

Note return to page 247 2O well flown Bird,] Lear is here raving of archery, and shooting at buts, as is plain by the words i' th' clout, that is, the white mark they set up and aim at: hence the phrase, to hit the white. So that we must read, O, well-flown, Barb! i. e. the barbed, or bearded Arrow. Warburton.

Note return to page 248 3Give the word.] Lear supposes himself in a garrison, and before he lets Edgar pass, requires the watch-word.

Note return to page 249 4Ha! Gonerill!—with a white beard?] So reads the folio, properly; the quarto, whom the latter editors have followed, has, Ha! Gonerill, hah! Regan! they flattered me, &c. which is not so forcible.

Note return to page 250 5they flattered me like a dog,] They played the spaniel to me.

Note return to page 251 6Whose face 'tween her forks] i. e. her hand held before her face in sign of modesty, with the fingers spread out, forky. Warb. I believe that the forks were two prominences of the ruff rising on each side of the face.

Note return to page 252 7The fitchew,] A Polecat Pope.

Note return to page 253 8nor the soyled horse,] I read stalled horse. Warb. Soiled horse is probably the same as pampered horse, uncheval soúlé.6Q0208

Note return to page 254 9Robes and furr'd gowns hide all] From bide all to accuser's lips, the whole passage is wanting in the first edition, being added, I suppose, at his revisal.

Note return to page 255 1&lblank; I'll able 'em;] An old phrase signifying to qualify, or uphold them. So Scogan, contemporary with Chaucer, says, Set all my life after thyne ordinance And able me to mercie or thou deme. But the Oxford Editor alters it, to absolve. Warburton.

Note return to page 256 2&lblank; This a good block!] I do not see how this block corresponds either with his foregoing or following train of thoughts. Madmen think not wholly at random. I would read thus, a good Flock. Flocks are wooll moulded together. The sentence then follows properly: It were a delicate stratagem to shoe A troop of horse with felt; &lblank; that is, with flocks kneaded to a mass, a practice I believe sometimes used in former ages, for it is mentioned in Ariosto. —Fece nel cader strepito quanto Avesse avuto sotto i, piedi il feltro. It is very common for madmen to catch an accidental hint, and strain it to the purpose predominant in their minds. Lear picks up a flock, and immediately thinks to surprise his enemies by a troop of horse shod with flocks or felt. Yet block may stand, if we suppose that the sight of a block put him in mind of mounting his horse.

Note return to page 257 3&lblank; a man of salt:] Would make a man melt away like salt in hot weather.

Note return to page 258 *Then there's life in it.] The safe is not yet desperate.

Note return to page 259 †&lblank; The main descry Stands on the hourly thought.] The main body is expected to be descry'd every hour. The expression is harsh.

Note return to page 260 4Who, by the art of known and feeling sorrows.] i. e. sorrows past and present; but the Oxford Editor loses all this sense, by altering it to &lblank; knowing and feeling. Warb.

Note return to page 261 5Briefly thyself remember:] i. e. quickly recollect the past offences of thy lfe, and recommend thyself to heaven. Warburton.

Note return to page 262 6che vor'ye,] I warn you. Edgar counterfeits the western dialect.

Note return to page 263 7To know our enemies' minds, we rip their hearts; Their papers are more lawful.] This is darkly expressed: The meaning is, Our enemies are put upon the rack, and torn in pieces to extort confession of their secrets; to tear open their letters is more lawful. Warb.

Note return to page 264 8Oh, undistinguish'd space of woman's Wit!] So the first Quarto reads, but the first Folio better, Will. I have no idea of the meaning of the first reading, but the other is extremely satirical; the varium & mutabile semper, of Virgil, more strongly and happily expressed the mutability of a woman's Will, which is so sudden that there is no space or distance between the present Will and the next. Honest Sancho explains this thought with infinite humour, Entre el si y el no de la muger, no me atreveria yo à poner una punta d' Alfiler. Between a woman's yes and no I would not undertake to thrust a pin's point. Warb.

Note return to page 265 9Thee I'll rake up,] I'll cover thee. In Staffordshire, to rake the fire, is to cover it with fuel for the night.

Note return to page 266 1&lblank; the death practis'd Duke;] The Duke of Albany, whose death is machinated by practice or treason.

Note return to page 267 2&lblank; and have ingenious Feeling] Ingenious Feeling signifies a feeling from an understanding not disturbed or disordered, but which, representing things as they are, makes the sense of pain the more exquisite. Warburton.

Note return to page 268 3&lblank; ev'ry measure fail me.] All good which I shall allot thee, or measure out to thee, will be scanty.

Note return to page 269 4&lblank; shortens my made intent;] There is a dissonancy of terms in made intent; one implying the idea of a thing done, the other, undone. I suppose Shakespear wrote laid intent; i. e. projected. Warb. An intent made, is an intent formed. So we say in common language, to make a design, and to make a resolution.

Note return to page 270 5&lblank; Restauration, hang Thy medicine on my lips; &lblank;] This is fine. She invokes the Goddess of Health, Hygieia, under the name of Restauration, to make her the minister of her Rites, in this holy office of recovering her father's lost senses. Warburton.6Q0209

Note return to page 271 6&lblank; To watch poor Perdue: With this thin helm? &lblank;] It ought to be read and pointed thus, &lblank; To watch, poor Perdu! With this thin Helm? &lblank; The allusion is to the forlorn-hope in an army, which are put upon desperate adventures, and called in French, enfans perdus; she therefore calls her father poor Perdu; Perdue, which is the common reading, being the feminine. These enfans perdus being always slightly and badly armed, is the reason she adds, With this thin Helm &lblank; i. e. bareheaded. Warb.

Note return to page 272 7Had not concluded all &lblank;] All what? we should read and point it thus, Had not concluded.—Ah! &lblank; An exclamation on perceiving her father wake. Warb. The plain construction is this: It is wonder that the wits and life had not all ended.

Note return to page 273 8I'm mightily abus'd.] I am strangely imposed on by appearances; I am in a strange mist of uncertainty.

Note return to page 274 9The quarto reads, I fear I am not perfect in my mind.

Note return to page 275 1And yet, &c.] This is not in the folio.

Note return to page 276 2To make him even o'er the Time, &lblank;] i. e. to reconcile it to his apprehension. Warb.

Note return to page 277 3What is printed in Italicks is not in the folio. It is at least proper, if not necessary, and was omitted by the authour, I suppose, for no other reason than to shorten the representation.

Note return to page 278 *&lblank; his constant pleasure.] His settled resolution.

Note return to page 279 4Sir, this I hear, &lblank; to &lblank; make oppose, &lblank;] This is a very plain speech, and the meaning is, The King and others whom we have opposed, are come to Cordelia. I could never be valiant but in a just quarrel. We must distinguish; it is just in one sense and unjust in another. As France invades our land I am concerned to repel him, but as he holds, entertains and supports the King, and others whom I fear many just and heavy causes make, or compel, as it were, to oppose us, I esteem it unjust to engage against them. This speech, thus interpreted according to the common reading, is likewise very necessary; for otherwise, Albany, who is characteris'd as a man of honour and observer of justice, gives no reason for going to war with those, whom he owns had been much injured under the countenance of his power. Notwithstanding this, Mr. Theobald, by an unaccountable turn of thought, reads the fourth line thus, I never yet was valiant: 'fore this business, &c. puts the two last lines in a parenthesis, and then paraphrases the whole in this manner. Sir, it concerns me (tho' not the King and the discontented party) to question about your interest in our sister, and the event of the war. What he means by this I am not able to find out; but he gives a reason why his reading and sense should be preferred. And Regan and Gonerill in their replies seem both apprehensive that this subject was coming into debate. Now all that we can collect from their replies, is that they were apprehensive he was going to blame their cruelty to Lear, Glo'ster, and others; which it is plain, from the common reading and the sense of the last line, he was. Most just and heavy causes make oppose. &lblank; Warb.

Note return to page 280 5We will greet the time.] We will be ready to meet the occasion.

Note return to page 281 6&lblank; carry out my side.] Bring my purpose to a successful issue, to completion. Side seems here to have the sense of the French word partie, in prendre partie, to take his resolution.

Note return to page 282 7&lblank; For my state Stands on me, &c.] I do not think that for stands in this place as a word of inference or causality. The meaning is rather: Such is my determination concerning Lear; as for my state it requires now, not deliberation, but defence and support.

Note return to page 283 8And take upon's the mystery of things, As if we were God's spies, &lblank;] This whole speech is exquisitely fine, and an admirable description of the idle life of a coffee-house politician. The meaning of these two lines, which are a little ambiguous, is this. We will take upon us to interpret and judge of the designs of Providence in the various fortunes and revolutions of men and governments, as if we were placed for spies over God Almighty, to watch his motions: God's spies signifying either spies employed by him or set upon him, is the occasion of the obscurity. Warburton. I rather take the other meaning. As if we were angels commissioned to survey and report the lives of men, and were consequently endowed with the power of prying into the original motives of action and the mysteries of conduct.

Note return to page 284 9&lblank; packs and sects &lblank;] Packs is used for combinations or collections, as in a pack of cards. For sects I think sets might be more commodiously read. So we say, affairs are now managed by a new set.

Note return to page 285 1Upon such sacrifices, my Cordelia, The Gods themselves throw incense. &lblank;] The thought is extremely noble, and expressed in a sublime of imag'ry that Seneca fell short of on the like occasion. Ecce spectaculum cignum ad quod respiciat, intentus openi suo Deus: Ecce par Deo dignum, vir fortis cum mala fortuna compositus. Warburton.

Note return to page 286 2&lblank; flesh and fell,] Flesh and skin.6Q0211

Note return to page 287 3&lblank; Thy great employment Will not bear question; &lblank;] Mr. Theobald could not let this alone, but would alter it to &lblank; My great Employment, Because (he says) the person spoken to was of no higher degree than a captain. But he mistakes the meaning of the words. By great Employment was meant the commission given him for the murder; and this, the Bastard tells us afterwards, was signed by Gonerill and himself. Which was sufficient to make this Captain unaccountable for the execution. Warburton.

Note return to page 288 *This passage, well worthy of restoration, is omitted in the folio.

Note return to page 289 4Bore the Commission of &lblank;] Commission, for authority. Warburton.

Note return to page 290 5The which immediacy &lblank;] Immediacy, for representation. Warburton. Immediacy is rather supremacy in opposition to subordination, which has quiddam med um between itself and power.

Note return to page 291 6&lblank; the walls are thine:] A metaphorical phrase taken from the camp, and signifying, to surrender at discretion. But the Oxford Editor, for a plain reason, alters it to, &lblank; they all are thine. Warb.

Note return to page 292 7The Lett alone lies not in your good will.] Whether he shall not or shall depends not on your choice.

Note return to page 293 *This short exclamation of Gonerill is added in the folio edition, I suppose, only to break the speech of Albany, that the exhibition on the stage might be more distinct and intelligible.

Note return to page 294 8Behold, it is the privilege of mine Honours, My Oath, and my Profession.] The charge he is here going to bring against the Bastard, he calls the privilege, &c. To understand which phraseology, we must consider that the old Rites of Knighthood are here alluded to; whose oath and profession required him to discover all treasons, and whose privilege it was to have his challenge accepted, or otherwise to have his charge taken pro confesso. For if one who was no Knight accused another who was, that other was under no obligation to accept the challenge. On this account it was necessary, as Edgar came disguised, to tell the Bastard he was a Knight. Warburton. The privilege of his oath means the privilege gained by taking the oath administered in the regular initiation of a knight professed.

Note return to page 295 9And that thy tongue some 'Say of Breeding breathes;] 'Say for Essay, some shew or probability. Pope.

Note return to page 296 1Alb. Save him, save him. Gon. This is Practice, Glo'ster:] Thus all the Copies; but I have ventur'd to place the two Hemistichs to Gonerill. 'Tis absurd, that Albany, who knew Edmund's Treasons, and his own Wife's Passion for him, should be sollicitous to have his Life sav'd. Theobald. He desired that Edmund's life might be spar'd at present, only to obtain his confession, and to convict him openly by his own letter.

Note return to page 297 2So the quarto; but the folio, Most monstrous, O, know'st thou, &c.

Note return to page 298 3Let's exchange charity.] Our authour by negligence gives his heathens the sentiments and practices of christianity. In Hamlet there is the same solemn act of final reconciliation, but with exact propriety, for the personages are Christians. Exchange forgiveness with me, noble Hamlet, &c.

Note return to page 299 4Quarto, full circled.

Note return to page 300 5The Italick lines are not in the folio.

Note return to page 301 6—This would have seem'd a Period To such as love not sorrow: But another, To amplify too much, would make much more, And top extremity! &lblank;] The reader easily sees that this reflexion refers to the Bastard's desiring to hear more; and to Albany's thinking he had said enough. But it is corrupted into miserable nonsense. We should read it thus, This would have seem'd a Period. But such As love to amplify another's Sorrow, To much, would make much more, and top extremity. i. e. This to a common humanity would have been thought the utmost of my sufferings; but such as love cruelty are always for adding more to much, till they reach the extremity of misery. Warburton.

Note return to page 302 7Here comes Kent.] The manner in which Edgar here mentions Kent, seems to require the lines which are inserted from the first edition in the foregoing scene.

Note return to page 303 8These two exclamations are given to Edgar and Albany in the folio, to animate the dialogue, and employ all the persons on the stage, but they are very obscure.

Note return to page 304 9&lblank; of difference and decay,] Decay, for misfortunes. Warburton.

Note return to page 305 1What Comfort to this great Decay may come,] Decay, for Desolation. Warb.

Note return to page 306 *With boot,] With advantage, with increase.

Note return to page 307 2&lblank; Friends of my soul,] A Spanish phrase. Amigo de mi alma. Warb.

Note return to page 308 3Alb. The Weight of this sad Time, &c.] This Speech from the Authority of the Old Quarto is rightly placed to Albany: in the Edition by the Players it is given to Edgar, by whom, I doubt not, it was of Custom spoken. And the Case was this: He who played Edgar, being a more favourite Actor, than he who personated Albany; in spite of Decorum, it was thought proper he should have the last Word. Theobald.

Note return to page 309 The Tragedy of Lear is deservedly celebrated among the dramas of Shakespeare. There is perhaps no play which keeps the attention so strongly fixed; which so much agitates our passions and interests our curiosity. The artful involutions of distinct interests, the striking opposition of contrary characters, the sudden changes of fortune, and the quick succession of events, fill the mind with a perpetual tumult of indignation, pity, and hope. There is no scene which does not contribute to the aggravation of the distress or conduct of the action, and scarce a line which does not conduce to the progress of the scene. So powerful is the current of the poet's imagination, that the mind, which once ventures within it, is hurried irresistibly along. On the seeming improbability of Lear's conduct it may be observed that he is represented according to histories at that time vulgarly received as true. And perhaps if we turn our thoughts upon the barbarity and ignorance of the age to which this story is referred, it will appear not so unlikely as while we estimate Lear's manners by our own. Such preference of one daughter to another, or resignation of dominion on such conditions, would be yet credible, if told of a petty prince of Guinea or Madag scar. Shakespeare, indeed, by the mention of his Earls and Dukes, has given us the idea of times more civilised, and of life regulated by softer manners; and the truth is, that though he so nicely discriminates, and so minutely describes the characters of men, he commonly neglects and confounds the characters of ages, by mingling customs ancient and modern, English and foreign. My learned friend Mr. Warton, who has in the Adventurer very minutely criticised this play, remarks, that the instances of cruelty are too savage and shocking, and that the intervention of Edmund destroys the simplicity of the story. These objections may, I think, be answered, by repeating, that the cruelty of the daughters is an historical fact, to which the poet has added little, having only drawn it into a series by dialogue and action. But I am not able to apologise with equal plausibility for the extrusion of Gloucester's eyes, which seems an act too horrid to be endured in dramatick exhibition, and such as must always compel the mind to relieve its distress by incredulity. Yet let it be remembered that our authour well knew what would please the audience for which he wrote. The injury done by Edmund to the simplicity of the action is abundantly recompensed by the addition of variety, by the art with which he is made to cooperate with the chief design, and the opportunity which he gives the poet of combining perfidy with perfidy, and connecting the wicked son with the wicked daughters, to impress this important moral, that villany is never at a stop, that crimes lead to crimes, and at last terminate in ruin. But though this moral be incidentally enforced, Shakespeare has suffered the virtue of Cordelia to perish in a just cause, contrary to the natural ideas of justice, to the hope of the reader, and, what is yet more strange, to the faith of chronicles. Yet this conduct is justified by the Spectator, who blames Tate for giving Cordelia success and happiness in his alteration, and declares, that, in his opinion, the tragedy has lost half its beauty. Dennis has remarked, whether justly or not, that, to secure the favourable reception of Cato, the town was poisoned with much false and abominable criticism, and that endeavours had been used to discredit and decry poetical justice. A play in which the wicked prosper, and the virtuous miscarry, may doubtless be good, because it is a just representation of the common events of human life: but since all reasonable beings naturally love justice, I cannot easily be persuaded, that the observation of justice makes a play worse; or, that if other excellencies are equal, the audience will not always rise better pleased from the final triumph of persecuted virtue. In the present case the publick has decided. Cordelia, from the time of Tate, has always retired with victory and felicity. And, if my sensations could add any thing to the general suffrage, I might relate, that I was many years ago so shocked by Cordelia's death, that I know not whether I ever endured to read again the last scenes of the play till I undertook to revise them as an editor. There is another controversy among the criticks concerning this play. It is disputed whether the predominant image in Lear's disordered mind be the loss of his kingdom or the cruelty of his daughters. Mr. Murphy, a very judicious critick, has evinced by induction of particular passages, that the cruelty of his daughters is the primary source of his distress, and that the loss of royalty affects him only as a secondary and subordinate evil; He observes with great justness, that Lear would move our compassion but little, did we not rather consider the injured father than the degraded king. The story of this play, except the episode of Edmund, which is derived, I think, from Sidney, is taken originally from Geoffry of Monmouth, whom Hollingshead generally copied; but perhaps immediately from an old historical ballad, of which I shall insert the greater part. My reason for believing that the play was posteriour to the ballad rather than the ballad to the play, is, that the ballad has nothing of Shakespeare's nocturnal tempest, which is too striking to have been omitted, and that it follows the chronicle; it has the rudiments of the play, but none of its amplifications: it first hinted Lear's madness, but did not array it in circumstances. The writer of the ballad added something to the history, which is a proof that he would have added more, if more had occurred to his mind, and more must have occurred if he had seen Shakespeare. King Lear once ruled in this land   With princely power and peace, And had all things, with heart's content,   That might his joys increase. Amongst those things that nature gave   Three daughters fair had he, So princely seeming beautiful,   As fairer could not be. The writer then proceeds with Lear's questions to his daughters, and their answers, according to the histories, and very nearly according to Shakespeare. Thus flatt'ring speeches won renown   By these two sisters here. The third had causeless banishment,   Yet was her love more dear: For poor Cordelia patiently   Went wand'ring up and down; Unhelp'd, unpity'd, gentle maid,   Through many an English town. Until at last in famous France   She gentler fortunes found: Though poor and bare, yet she was deem'd   The fairest on the ground: Where when the King her virtues heard,   And this fair lady seen, With full consent of all his court,   He made his wife and Queen. Her father, old King Lear, this while   With his two daughters staid; Forgetful of their promis'd loves,   Full soon the same denayd; And living in Queen Regan's court,   The eldest of the twain, She took from him his chiefest means,   And most of all his train. For whereas twenty men were wont   To wait with bended knee, She gave allowance but to ten,   And after scarce to three; Nay one she thought too much for him:   So took she all away, In hope that in her court, good King,   He would no longer stay. Am I rewarded thus, quoth he,   In giving all I have Unto my children, and to beg   For what I lately gave? I'll go unto my Gonerill;   My second child, I know, Will be more kind and pitiful,   And will relieve my woe. Full fast he hies then to her court;   Where when she hears his moan, Return'd him answer, that she griev'd   That all his means were gone, But no way could relieve his wants:   Yet if that he would stay Within her kitchen, he should have   What scullions gave away. When he had heard with bitter tears,   He made his answer then; In what I did let me be made   Example to all men. I will return again, quoth he,   Unto my Regan's court: She will not use me thus I hope,   But in a kinder sort. Where when he came she gave command   To drive him thence away: When he was well within her court,   She said, he would not stay. Then back again to Gonerill   The woeful King did hie, That within her kitchen he might have   What scullion boys set by. But there of that he was deny'd,   Which she had promised late: For once refusing, he should not   Come after to her gate. Thus 'twixt his daughters, for relief   He wander'd up and down; Being glad to feed on beggars' food   That lately wore a crown. And calling to remembrance then   His youngest daughter's words; That said, the duty of a child   Was all that love affords. But doubting to repair to her,   Whom he had banish'd so, Grew frantick mad; for in his mind   He bore the wounds of woe. Which made him rend his milk white locks   And tresses from his head, And all with blood bestain his cheeks,   With age and honour spread. To hills and woods, and wat'ry founts,   He made his hourly moan, Till hills and woods, and senseless things,   Did seem to sigh and groan. Ev'n thus possess'd with discontents,   He passed o'er to France, In hope from fair Cordelia there   To find some gentler chance. Most virtuous Dame! which when she heard   Of this her father's grief, As duty bound, she quickly sent   Him comfort and relief. And by a train of noble peers,   In brave and gallant sort, She gave in charge he should be brought   To Aganippus' court; Whose royal King, whose noble mind,   So freely gave consent, To muster up his knights at arms,   To fame and courage bent. And so to England came with speed   To repossess King Lear, And drive his daughters from their thrones   By his Cordelia dear: Where she, true hearted noble Queen,   Was in the battle slain; Yet he, good King, in his old days   Possess'd his crown again. But when he heard Cordelia's death,   Who dy'd indeed for love Of her dear father, in whose cause   She did this battle move, He swooning fell upon her breast,   From whence he never parted; But on her bosom left his life,   That was so truly hearted. The lords and nobles when they saw   The ends of these events, The other sisters unto death   They doomed by consents. And being dead their crowns they left   Unto the next of kin. Thus have you seen the fall of pride   And disobedient sin.

Note return to page 310 From Lucian's Dialogues. Of this Play there is no Edition known but that of the Players.

Note return to page 311 1But what particular rarity? &c.] Our author, it is observable has made his poet in this play a knave. But that it might not reflect upon the profession, he has made him only a pretender to it, as appears from his having drawn him, all the way, with a false taste and judgment. One infallible mark of which, is a fondness for every thing strange, surprizing and portentous; and a disregard for whatever is common, or in nature Shakespear therefore has with great delicacy of judgment put his poetaster upon this inquiry. Warburton. The learned commentator's note must shift for itself. I cannot but think that the passage is at present in confusion. The Poet asks a question, and stays not for an answer, nor has his question any apparent drift or consequence. I would range the passage thus: Poet. Ay, that's well known. But what particular rarity? what so strange? That manifold record not matches? Paint. See! Poet. Magick of bounty, &c. It may be not improperly observed here, that as there is only one copy of this play, no help can be had from collation, and more liberty must be allowed to conjecture.

Note return to page 312 2&lblank; breath'd as it were To an untirable and continuate goodness.] Breathed is enured by constant practice; so trained as not to be wearied. To breathe a horse, is to exercise him for the course.

Note return to page 313 3&lblank; touch the estimate.] Come up to the price.

Note return to page 314 4When we for recompence, &c.] We must here suppose the poet busy reading his own work; and that these three lines are the introduction of the poem addressed to Timon, which he afterwards gives the painter an account of. Warburton.

Note return to page 315 5&lblank; which oozes] The folio copy reads, which uses. The modern editors have given it which issues.

Note return to page 316 6&lblank; and like the current flies Each bound it chafes.] Thus the folio reads, and rightly. In later editions, chases. Warb. This speech of the poet is very obscure. He seems to boast the copiousness and facility of his vein, by declaring that verses drop from a poet as gums from odoriferous trees, and that his flame kindles itself without the violence necessary to elicite sparkles from the flint. What follows next? that it, like a current, flies each bound it chafes. This may mean, that it expands itself notwithstanding all obstructions: but the images in the comparison are so ill sorted, and the effect so obscurely expressed, that I cannot but think something omitted that connected the last sentence with the former. It is well known that the players often shorten speeches to quicken the representation; and it may be suspected, that they sometimes performed their amputations with more haste than judgment.

Note return to page 317 7Upon the heels, &c.] As soon as my book has been presented to Lord Timon.

Note return to page 318 8This comes off well and excellent.] By this we are to understand what the painters call the goings off of a picture, which requires the nicest execution. Warburton. The note I understand less than the text. The meaning is, This figure rises well from the canvas. C'est bien relevè.

Note return to page 319 9&lblank; how this grace Speaks its own standing?] This relates to the attitude of the figure; and means that it stands judiciously on its own centre. And not only so, but that it has a graceful standing likewise. Of which the poet in Hamlet, speaking of another picture, says, A Station like the Herault, Mercury, New-lighted on a heav'n-kissing hill. which lines Milton seems to have had in view, where he says of Raphael, At once on th' eastern Cliff of Paradise He lights, and to his proper shape returns. &lblank; Like Maia's son he stood. Warburton. This sentence seems to me obscure, and, however explained, not very forcible. This grace speaks his own standing, is only The gracefulness of this figure shews how it stands. I am inclined to think something corrupted. It would be more natural and clear thus: &lblank; how this standing Speaks his own graces? How this posture displays its own gracefulness. But I will indulge conjecture further, and propose to read, &lblank; how this grace Speaks understanding? what a mental power This eye shoots forth? &lblank;

Note return to page 320 1&lblank; artificial strife] Strife for action or motion. Warb. Strife is either the contest or act with nature. Hic ille est Raphael, timuit, quo sospite, vinci Rerum magna parens, et moriente, mori. Or it is the contrast of forms, or opposition of colours.6Q0212

Note return to page 321 2This confluence, this great flood of visiters.] Mane salutantûm totis vomit ædibus undam.

Note return to page 322 3Halts not particularly,] My design does not stop at any single characters.

Note return to page 323 4In a wide sea of wax;] Anciently they wrote upon waxen tables with an iron stile. Han.

Note return to page 324 5&lblank; no levell'd malice] Why this epithet to malice? which belongs to all actions whatsoever, which have their aim or level. Shakespear wrote, &lblank; no leven'd malice, which is not only a proper epithet for the acidity of that passion, but answers well to the next words infects, and, leaving no tract behind, as any thing fermenting or corrosive does. Warburton. To level is to alm, to point the shot at a mark. Shakespeare's meaning is, my poem is not a satire written with any particular view, or levelled at any single person; I fly like an eagle into the general expanse of life, and leave not, by any private mischief, the trace of my passage.

Note return to page 325 6I'll unbolt &lblank;] I'll open; I'll explain.

Note return to page 326 7&lblank; glib and slipp'ry creatures,] Hanmer and Dr. Warburton after him, read, natures. Slippery is smooth, unresisting.

Note return to page 327 8&lblank; glass-fac'd flatterer] That shows in his own look, as by reflection, the looks of his patron.

Note return to page 328 9&lblank; rank'd with all deserts,] Cover'd with ranks of all kinds of men.

Note return to page 329 1To propagate their states;] To propagate, for to make. Warburton. To advance or improve their various conditions of life.

Note return to page 330 2&lblank; conceiv'd to scope.] Properly imagined, appositely, to the purpose.

Note return to page 331 3In our condition.] Condition, for art. Warburton.

Note return to page 332 4Rain sacrificial whisp'rings in his ear;] The sense is obvious, and means, in general, flattering him. The particular kind of flattery may be collected from the circumstance of its being offered up in whispers: Which shews it was the calumniating those whom Timon hated or envied, or whose vices were opposite to his own. This offering up, to the person flattered, the murder'd reputation of others, Shakespear, with the utmost beauty of thought and expression, calls sacrificial whisp'rings, alluding to the victims offer'd up to Idols. Warburton.

Note return to page 333 5&lblank; through him Drink the free air.] That is, catch his breath in affected fondness.

Note return to page 334 6'Tis not enough, &c.] This thought is better expressed by Dr. Madden in his elegy on Archbishop Boulter. &lblank; He thought it mean Only to help the poor to beg again.

Note return to page 335 7Therefore he will be, Timon.] The thought is closely expressed, and obscure: but this seems the meaning, If the man be honest, my Lord, for that reason he will be so in this; and not endeavour at the injustice of gaining my daughter without my consent. Warb. I rather think an emendation necessary, and read, Therefore well be him, Timon. His honesty rewards him in itself. That is, If he is honest I wish him the proper happiness of an honest man, but his honesty gives him no claim to my daughter. The first transcriber probably wrote will be him, which the next, not understanding, changed to, he will be.6Q0213

Note return to page 336 8&lblank; never may That state, or fortune, fall into my keeping, Which is not ow'd to you!] i. e. may I never have any accession of fortune which you are not the author of. An odd strain of complaisance. We should read, Which is not own'd to you. i. e. which I will not acknowledge you laid the foundation of in this generous act. Warb. The meaning is, let me never henceforth consider any thing that I possess, but as owed or due to you; held for your service, and at your disposal.

Note return to page 337 9&lblank; pencil'd figures are Ev'n such as they give out. &lblank;] Pictures have no hypocrisy; they are what they profess to be.

Note return to page 338 1&lblank; unclew my quiet.] To unclew is to unwind a ball of thread. To unclew a man, is to draw out the whole mass of his fortunes.

Note return to page 339 2Are by their masters priz'd;] Are rated according to the esteem in which their possessor is held.

Note return to page 340 3Enter Apemantus.] See this character of a Cynic finely drawn by Lucian, in his Auction of the Philosophers; and how well Shakespeare has copied it.

Note return to page 341 4Tim. Good morrow to thee, gentle Apemantus! Apem. Till I be gentle, stay for thy good morrow; When thou art Timon's dog, and these knaves honest.] The first line of Apemantus's answer is to the purpose; the second absurd and nonsensical; which proceeds from the loss of a speech dropt from between them, that should be thus restored, Tim. Good morrow to thee, gentle Apemantus! Apem. 'Till I be gentle, stay for thy good morrow. [Poet. When will that be?] Apem. When thou art Timon's dog, and these knaves honest. Warburton. I think my punctuation may clear the passage without any greater effort.

Note return to page 342 5That I had no angry wit, to be a lord.] This reading is absurd, and unintelligible. But, as I have restored the text, that I had so hungry a wit, to be a lord, it is satirical enough of conscience, viz. I would hate myself, for having no more wit than to covet so insignificant a title. In the same sense, Shakespear uses lean-witted in his Richard II. And thou a lunatick, lean-witted, fool. Warb. The meaning may be, I should hate myself for patiently enduring to be a Lord. This is ill enough expressed. Perhaps some happy change may set it right. I have tried, and can do nothing, yet I cannot heartily concur with Dr. Warburton.

Note return to page 343 6The strain of man's bred out into baboon and monkey.] Man is exhausted and degenerated; his strain or lineage is worn down into monkey.

Note return to page 344 7Ere we depart, &lblank;] Who depart? Tho' Alcibiades was to leave Timon, Timon was not to depart. Common Sense favours my Emendation. Theobald.

Note return to page 345 8All use of quittance.] i. e. All the customary returns made in discharge of obligations. Warburton. I rather read, all use or quittance, all interest or requital.

Note return to page 346 9If our Betters play at that game, we must not dare To imitate them. Faults that are rich are fair] These two lines are absurdly given to Timon. They should be read thus: Tim. If our betters play at that game, we must not. Apem. Dare to imitate them: faults that are rich are fair. This is said satirically and in character. It was a sober reflection in Timon; who by our betters meant the Gods, which require to be repaid for benefits received; but it would be impiety in men to expect the same observance for the trifling good they do. Apemantus, agreeably to his character, perverts this sentiment; as if Timon had spoke of earthly grandees and potentates, who expect largest returns for their favours; and therefore, ironically, replies as above. Warb. I cannot see that these lines are more proper in any other mouth than in Timon's, to whose character of generosity and condescension they are very suitable. To suppose that by our betters are meant the Gods, is very harsh, because to imitate the Gods has been hitherto reckoned the highest pitch of human virtue. The whole is a trite and obvious thought, uttered by Timon with a kind of affected modesty. If I would make any alteration it should be only to reform the numbers thus: Our betters play that game; we must not dare T' imitate them: faults that are rich, are fair.

Note return to page 347 1I myself would have no power] If this be the true reading, the sense is, all Athenians are welcome to share my fortune: I would myself have no exclusive right or power in this house. Perhaps we might read, I myself would have no poor. I would have every Athenian consider himself as joint possessor of my fortune.

Note return to page 348 2I scorn thy meat, 'twould choak me: for I should ne'er flatter thee.] A very pretty reason why his meat would choak him, because he should never flatter him. We should read and point this nonsense thus, I scorn thy meat: t'would choak me 'fore I should e'er flatter thee. i. e. before I should ever flatter thee. Warburton. Of this emendation there is little need. The meaning is, I could not swallow thy meat, for I could not pay for it with flattery; and what was given me with an ill will would stick in my throat.

Note return to page 349 3So many dip their meat in one man's blood.] The allusion is to a pack of hounds trained to pursuit by being gratified with the blood of the animal which they kill, and the wonder is that the animal on which they are feeding cheers them to the chase.

Note return to page 350 *&lblank; he cheers them up too.] I believe Shakespear wrote up to't. Warburton. I believe not.

Note return to page 351 4&lblank; wind-pipe's dangerous notes;] The notes of the wind-pipe seem to be only the indications which shew where the wind pipe is.

Note return to page 352 5My Lord, in heart;] That is, my Lord's health with sincerity. An emendation has been proposed thus: My Love in heart, but it is not necessary.

Note return to page 353 6for ever perfect.] That is, arrived at the perfection of happiness.

Note return to page 354 7how had you been my friends else? why have you that charitable title from thousands,] The Oxford Editor alters charitable title to character and title. He did not know that charitable signifies dear, endearing: nor consequently understood what Milton meant by, Relations dear, and all the Charities Of father, son, and brother &lblank; Alms, in English, are called Charities, and from thence we may collect that our ancestors knew well in what the virtue of alms-giving consisted; not in the act, but the disposition. Warb.

Note return to page 355 8did not you chiefly belong to my heart?] I think it should be inverted thus: did I not chiefly belong to your hearts. Lucius wishes that Timon would give him and the rest an opportunity of expressing some part of their zeals. Timon answers that, doubtless the Gods have provided that I should have help from you; how else are you my friends? why are you stiled my friends, if—what? if I do not love you. Such is the present reading; but the consequence is not very clear; the proper close must be, if you do not love me, and to this my alteration restores it.

Note return to page 356 9I confirm you.] I fix your characters firmly in my own mind.

Note return to page 357 1O joy, e'en made away ere't can be born;] For this Hanmer writes, O joy, e'en made a joy ere't can be born; and is followed by Dr. Warburton. I am always inclinable to think well of that which is approved by so much learning and sagacity, yet cannot receive this alteration. Tears being the effect both of joy and grief supplied our authour with an opportunity of conceit which he seldom fails to indulge. Timon weeping with a kind of tender pleasure, cries out, O joy, e'en made away, destroyed, turned to tears, before it can be born, before it can be fully possessed.

Note return to page 358 2mine eyes, &c.] In the original edition the words stand thus: mine eyes cannot hold out water, methinks. To forget their faults, I drink to you. Perhaps the true reading is this, Mine eyes cannot hold out; they water. Methinks, to forget their faults, I drink to you.

Note return to page 359 3to make them drink,] Hanmer reads, to make them drink thee, and is again followed by Dr. Warburton, I think without sufficient reason. The covert sense of Apemantus is, what thou losest they get.

Note return to page 360 4like a babe] That is, a weeping babe.

Note return to page 361 5In former copies: There taste, touch, all pleas'd from thy Table rise, They only now &lblank;] The five senses are talked of by Cupid, but three of them only are made out; and those only in a very heavy unintelligible manner. It is plain therefore we should read. th'ear, taste, touch, smell, pleas'd from thy Table rise, these only now, &c. i. e. the five senses, Timon, acknowledge thee their patron; four of them, viz. the hearing, touch, taste and smell, are all feasted at thy board; and these ladies come with me to entertain your sight in a Masque. Massinger, in his Duke of Millaine, copied the passage from Shakespear; and, apparently, before it was thus corrupted; where, speaking of a banquet, he says, &lblank; All that may be had To please the eye, the ear, taste, touch or smell, Are carefully provided. &lblank; Warburton.

Note return to page 362 6They dance, they are mad women. Like madness, is the glory of this life; As this pomp shews to a little oyl and root.] This is Apemantus's reflection on the Mask of Ladies: and, for its obscurity, would become any pagan philosopher. The first line is a compleat sentence: the second is the beginning of a new reflection; and the third, the conclusion of it by a similitude. Hence it appears, that some lines are dropt out and lost from between the second and third verses. I conjecture the sense of the whole might be this, The glory of human life is like the madness of this Mask; it is a false aim at happiness, which is to be obtained only by sobriety and temperance in a private and retired life. But superficial judges will always prefer pomp and glory; because in outward appearance it has so greatly the advantage: as great as this pompous supper appears to have above my oil and root. This, in my opinion, was the sentiment that connected the second and third lines together: which for the future should be read with asterisks between them. Warburton. When I read this passage I was at first of the same opinion with this learned man; but, upon longer consideration, I grew less confident, because I think the present reading susceptible of explanation, with no more violence to language than is frequently found in our authour. The glory of this life is very near to madness, as may be made appear from this pomp exhibited in a place where a philosopher is feeding on oil and roots. When we see by example how few are the necessaries of life, we learn what madness there is in so much superfluity.

Note return to page 363 7&lblank; mine own device] The mask appears to have been designed by Timon to surprise his guests.

Note return to page 364 *My Lord,] This answer seems rather to belong to one of the Ladies. It was probably only marked L in the copy.

Note return to page 365 8&lblank; he'd be cross'd then if he could:] The Poet does not mean here, that he would be cross'd in Humour, but that he would have his Hand cross'd with Money, if he could. He is playing on the Word, and alluding to our old Silver Penny, used before K. Edward the first's Time, which had a Cross on the Reverse with a Crease, that it might be more easily broke into Halves and Quarters, Half-pence and Farthings. From this Penny, and other Pieces, was our common Expression derived, I have not a Cross about me; i. e. not a Piece of Money. Theobald.

Note return to page 366 9&lblank; eyes behind;] To see the miseries that are following her.

Note return to page 367 1&lblank; for his mind.] For nobleness of soul.

Note return to page 368 2&lblank; to advance this jewel,] To prefer it; to raise it to honour by wearing it.

Note return to page 369 3I tell you true.] The other editions, I'll tell you.

Note return to page 370 4&lblank; 'tis not enough to give; Methinks, I could deal kingdoms] Thus the passage stood in all editions before Hanmer's, who restored my thanks.

Note return to page 371 *I' defiled land,] This is the old reading, which apparently depends on a very low quibble. Alcibiades is told, that his estate lies in a pitch'd field. Now pitch, as Falstaff says, doth defile. Alcibiades therefore replies, That his estate lies in defiled land. This, as it happened, was not understood, and all the editors published, I defy land.

Note return to page 372 5Serving of becks &lblank;] This nonsense should be read, Serring of becks &lblank; from the French, serrer, to join close together. A metaphor taken from the billing of pigeons. Warburton. The commentator conceives beck to mean the mouth or the head, after the French, bec, whereas it means a salutation made with the head. So Milton, Nods and becks, and wreathed smiles. To serve a beck, is to offer a salutation.

Note return to page 373 6I doubt, whether their legs, &c.] He plays upon the word leg, as it signifies a limb and a bow or act of obeisance.

Note return to page 374 7I fear me, thou wilt give away thyself in paper shortly.] i. e. be ruin'd by his securities entered into. But this sense is flat, and relishes very little of the salt in Apemantus's other reflections. We should read, &lblank; give away thyself in proper shortly. i. e. in person; thy proper self. This latter is an expression of our author's in the Tempest; And ev'n with such like valour men hang and drown Their proper selves. Warb. Hanmer reads very plausibly, thou wilt give away thyself in perpetuum.

Note return to page 375 8Thy heaven &lblank;] The pleasure of being flattered.

Note return to page 376 9In old Edition: Ask nothing, give it him, it foals me straight An able horse,] “If I want Gold, (says the Senator) let me steal a Beggar's Dog, and give it to Timon, the Dog coins me Gold. If I would sell my horse, and had a mind to buy ten better instead of him; why, I need but give my Horse to Timon, to gain this Point; and it presently fetches me an horse.” But is that gaining the Point propos'd? The first Folio reads, less corruptly than the modern Impressions, &lblank; And able Horses. &lblank; Which Reading, join'd to the Reasoning of the Passage. gave me the Hint for this Emendation. Theobald.

Note return to page 377 1&lblank; No porter at his gate, But rather one that smiles, and still invites] I imagine that a line is lost here, in which the usual behaviour of a surly porter was described.

Note return to page 378 2&lblank; no reason Can sound his state in safety.] The supposed meaning of this must be, No reason, by sounding, fathoming, or trying, his state, can find it safe. But as the words stand, they imply, that no reason can safely sound his state. I read thus, &lblank; no reason Can found his state in safety. Reason cannot find his fortune to have any safe or solid foundation. The types of the first printer of this play were so worn and defaced that f and s are not always to be distinguished.

Note return to page 379 3&lblank; take the Bonds along with you, And have the Dates in. Come.] Certainly, ever since Bonds were given, the Date was put in when the Bond was entered into: And these Bonds Timon had already given, and the Time limited for their Payment was laps'd. The Senator's Charge to his Servant must be to the Tenour as I have amended the Text; Take good Notice of the Dates, for the better Computation of the Interest due upon them. Theob.

Note return to page 380 4&lblank; never Mind Was, to be so unwise, to be so kind.] Nothing can be worse, or more obscurely express'd: And all for the sake of a wretched rhime. To make it sense and grammar, it should be supplied thus, &lblank; never Mind Was [made] to be so unwise, [in order] to be so kind. i. e. Nature in order to make a profuse mind never before endow'd any man with so large a share of folly. Warb.

Note return to page 381 5Good evening, Varro.] It is observable that this good evening is before dinner; for Timon tells Alcibiades, that they will go forth again as soon as dinner's done, which may prove that by dinner our authour meant not the coena of ancient times, but the midday's repast. I do not suppose the passage corrupt: such inadvertencies neither authour nor editor can escape. There is another remark to be made. Varro and Isidore sink a few lines afterwards into the servants of Varro and Isidore. Whether servants, in our authour's time, took the names of their masters, I know not. Perhaps it is a slip of negligence.

Note return to page 382 6Enter Apemantus and Fool.] I suspect some scene to be lost, in which the entrance of the fool, and the page that follows him, was prepared by some introductory dialogue, and the audience was informed that they were the fool and page of Phrynia, Temandra, or some other courtisan, upon the knowledge of which depends the greater part of the ensuing jocularity.

Note return to page 383 7Poor rogues', and usurers' men! bawds, &c.] This is said so abruptly that I am inclined to think it misplaced, and would regulate the passage thus: Caph. Where's the fool now? Apem. He last ask'd the question. All. What are we, Apemantus? Apem. Asses. All. Why? Apem. That you ask me what you are, and do not know yourselves. Poor rogues', and usurers' men! bawds between gold and want. Speak, &c. Thus every word will have its proper place. It is likely that the passage transposed was forgot in the copy, and inserted in the margin, perhaps a little beside the proper place, which the transcriber wanting either skill or care to observe, wrote it where it now stands.

Note return to page 384 8She's e'en setting on water to scald] The old name for the disease got at Corinth was the brenning, and a sense of scalding is one of its first symptoms.

Note return to page 385 9'Would, we could see you at Corinth.] A cant name for a bawdy house, I suppose from the dissoluteness of that ancient Greek city; of which Alexander ab Alexandro has these words: Corinthi super mille Prostitutæ in Templo Veneris assiduæ degere, & inflammata libidine quæstui meretricio operam dare, et velut Sacrorum Ministræ Deæ famulari solebant. Milton, in his Apology for Smectymnuus, says, Or searching for me at the Bordellos, where it may be he has lost himself, and raps up, without pity, the sage and rheumatick old Prelatess, with all her young Corinthian Laity, to enquire for such a one. Warb.

Note return to page 386 1his artificial one.] Meaning the celebrated philosopher's stone, which was in those times much talked of. Sir Thomas Smith was one of those who lost considerable sums in seeking of it.

Note return to page 387 2&lblank; made your minister] So the original. The later editions have all made you minister.

Note return to page 388 3Though you hear now too late, yet now's a time;] i. e. Tho' it be now too late to retrieve your former fortunes, yet it is not too late to prevent, by the assistance of your friends, your future miseries. Had the Oxford Editor understood the sense, he would not have altered the text to, Though you hear me now, yet now's too late a time. Warburton. I think Hanmer right, and have received his emendation.

Note return to page 389 4&lblank; and at length How goes our reck'ning?] This Steward talks very wildly. The Lord indeed might have asked, what a Lord seldom knows, How goes our reck'ning: But the Steward was too well satisfied in that matter. I would read therefore, Hold good our reck'ning? The Oxford Editor would appropriate this emendation to himself, by altering it to, make good. Warburton. It is common enough, and the commentator knows it is common, to propose, interrogatively, that of which neither the speaker nor the hearer has any doubt. The present reading may therefore stand.

Note return to page 390 5O my good lord, the world is but a world;] The Folio reads, &lblank; but a word; And this is the right. The meaning is, as the world itself may be comprised in a word, you might give it away in a breath. Warburton.

Note return to page 391 6&lblank; a wasteful cock,] i. e. a cockloft, a garret. And a wasteful cock signifies a garret lying in waste, neglected, put to no use. Hanmer. Hanmer's explanation is received by Dr. Warburton, yet I think them both apparently mistaken. A wasteful cock is a cock or pipe with a turning stopple running to waste. In this sense both the terms have their usual meaning; but I know not that cock is ever used for cockloft, or wasteful, for lying in waste, or that lying in waste is at all a phrase.

Note return to page 392 7And try the arguments &lblank;] Arguments, for natures. Warb. How arguments should stand for natures I do not see. But the licentiousness of our authour forces us often upon far fetched expositions. Arguments may mean contents, as the arguments of a book, or evidences and proofs.

Note return to page 393 8&lblank; I knew it the most gen'ral way] Gen'ral, for speedy. Warburton. General is not speedy, but compendious, the way to try many at a time.

Note return to page 394 9Intending is regarding, turning their notice to other things.

Note return to page 395 1&lblank; and these hard fractions,] An equivocal allusion to fractions in decimal arithmetick. So Flavius had, like Littlewit, in Bartholomew-Fair, a conceit left in his misery. Warburton. There is, I think, no conceit in the head of Flavius, who, by fractions, means broken hints, interrupted sentences, abrupt remarks.

Note return to page 396 2half caps,] A half-cap is a cap slightly moved, not put off.

Note return to page 397 3Cold moving Nods,] All the Editions exhibit these as two distinct Adjectives, to the Prejudice of the Author's Meaning; but they must be joined by an Hyphen, and make a Compound Adjective out of a Substantive and a Particle, and then we have the true Sense of the Place; Cold-moving, Cold-provoking; Nods so discouraging, that they chilled the very Ardour of our Petition, and froze us into silence. Theobald.

Note return to page 398 4&lblank; Have their Ingratitude in them hereditary:] Hereditary, for by natural constitution. But some distempers of natural constitution being called hereditary, he calls their Ingratitude so. Warburton.

Note return to page 399 5'Would, I could not:] The original edition has, I would, I could not think it, that thought, &c. It has been changed, to mend the numbers, without authority.

Note return to page 400 *Free, is liberal, not parsimonious.

Note return to page 401 6And we alive that liv'd?] i. e. And we who were alive then, alive now. As much as to say, in so short a time. Warb.

Note return to page 402 7It turns in less than two nights?] Alluding to the turning or acescence of milk.

Note return to page 403 8Of nurture,] The common copies read nature. The emendation is Sir T. Hanmer's.

Note return to page 404 *We know him for no less,] That is, we know him by report to be no less than you represent him, though we are strangers to his person.

Note return to page 405 9yet had he mistook him, and sent him to me,] We should read, &lblank; mislook'd him, i. e. overlooked, neglected to send to him. Warburton. I rather read, Yet had he not mistook him, and sent to me.

Note return to page 406 1If his occasion were not virtuous,] Virtuous, for strong, forceable, pressing. Warb.

Note return to page 407 2&lblank; half so faithfully.] Faithfully, for fervently. Therefore, without more ado, the Oxford Editor alters the text to fervently. But he might have seen, that Shakespear used faithfully for fervently, as in the former part of the sentence he had used virtuous for forceable. Warb.

Note return to page 408 3That I should purchase the day before for a little part, and undo a great deal of Honour?] Tho' there is a seeming plausible Antithesis in the Terms, I am very well assured they are corrupt at the bottom. For a little Part of what? Honour is the only Substantive that follows in the Sentence. How much is the Antithesis improv'd by the Sense which my Emendation gives? “That I should purchase for a little Dirt, and undo a great deal of Honour!” Theobald. This emendation is received, like all others, by Sir T. Hanmer, but neglected by Dr. Warburton. I think Theobald right in suspecting corruption; nor is his emendation injudicious, tho' perhaps we may better read, purchase the day before for a little park.

Note return to page 409 4&lblank; flatterer's spirit:] This is Dr. Warburton's emendation. The other editions read, Why, this is the world's soul: Of the same piece is every flatterer's sport. Mr. Upton has not unluckily transposed the two final words, thus, Why, this is the world's sport: Of the same piece is ev'ry flatterer's soul.

Note return to page 410 5&lblank; (in respect of his)] i. e. considering Timon's claim for what he asks. Warb. &lblank; in respect of his,] That is, in respect of his fortune, what Lucius denies to Timon is in proportion to what Lucius possesses, less than the usual alms given by good men to beggars.

Note return to page 411 6I would have put my wealth into donation, And the best half should have return'd to him,] Hanmer reads, I would have put my wealth into partition, And the best half should have attorn'd to him. Dr. Warburton receives attorn'd.

Note return to page 412 7They've all been touch'd,] That is, tryed, alluding to the touchstone.

Note return to page 413 8&lblank; his Friends, like Physicians Thriv'd, give him over?] I have restor'd this old Reading, only amended the Pointing which was faulty. Mr. Pope, suspecting the Phrase, has substituted Three in the room of thriv'd, and so disarm'd the Poet's Satire. Physicians thriv'd is no more than Physicians grown rich: Only the Adjective Passive of this Verb, indeed, is not so common in Use; and yet is it a familiar Expression, to this Day, to say, Such a One is well thriven on his Trade. Theobald. The original reading is, &lblank; his friends (like Physicians) Thrive, give him over? which Theobald has misrepresented. Hanmer reads, try'd, plausibly enough. Instead of three proposed by Mr. Pope, I should read thrice. But perhaps the old reading is the true.

Note return to page 414 9I'd such a courage] Such an ardour, such an eager desire.

Note return to page 415 1The devil knew not what he did,] I cannot but think that the negative not has intruded into this passage, and the reader will think so too, when he reads Dr. Warburton's explanation of the next words.

Note return to page 416 2will set him clear.] Set him clear does not mean acquit him before heaven; for then the Devil must be supposed to know what he did: But it signifies puzzle him, outdo him at his own weapons. Warburton. How the devil, or any other being, should be set clear by being puzzled and outdone, the commentator has not explained. When in a crowd we would have an opening made, we say, Stand clear, that is, out of the way of danger. With some affinity to this use, though not without great harshness, to set clear, may be to set aside. But I believe the original corruption is the insertion of the negative, which was obtruded by some transcriber, who supposed crossed to mean thwarted, when it meant, exempted from evil. The use of crossing, by way of protection or purification, was probably not worn out in Shakespeare's time. The sense of set clear is now easy; he has no longer the guilt of tempting man.

Note return to page 417 3takes virtuous copies to be wicked: like those, &c.] This is a reflection on the Puritans of that time. These people were then set upon a project of new-modelling the ecclesiastical and civil government according to scripture rules and examples. Which makes him say, that under zeal for the word of God, they would set whole realms on fire. So Sempronius pretended to that warm affection and generous jealousy of friendship, that is affronted, if any other be applied to before it. At best the similitude is an aukward one: but it fitted the audience, tho' not the Speaker. Warburton.

Note return to page 418 *&lblank; keep his house.] That is, keep within doors for fear of duns.

Note return to page 419 †Lucius is here again for the servant of Lucius.

Note return to page 420 3&lblank; a Prodigal's course Is like the sun's,] That is, like him in blaze and splendour. Soles occidere et redire possunt. Catul.

Note return to page 421 *I'm weary of this charge,] That is, of this commission, of this employment.

Note return to page 422 †Else, surely, his had equall'd.] Should it not be, Else, surely, mine had equall'd.

Note return to page 423 4Enter Servilius.] It may be observed that Shakespeare has unskilfully filled his Greek story with Roman names.

Note return to page 424 5He is a man, &c.] I have printed these lines after the original copy. except that, for an honour, it is there, and honour. All the latter editions deviate unwarrantably from the original, and give the lines thus: He is a man, setting his fault aside, Of virtuous honour, which buys out his fault; Nor did he soil, &c.

Note return to page 425 6&lblank; setting his fault aside,] We must read, &lblank; this fault. &lblank; Warburton.

Note return to page 426 7&lblank; and unnoted passion] Unnoted, for common, bounded. Warburton.

Note return to page 427 8He did behave his anger] Behave, for curb, manage. But the Oxford Editor equips the old Poet with a more modish phrase, He did behave in's anger &lblank; A paltry clipt jargon of modern fops, for behave himself. Warb. The original copy reads not behave but behoove. I do not well understand the passage in either reading. Shall we try a daring conjecture? &lblank; with such sober and unnoted passion He did behold his adversary shent, As if he had but prov'd an argument. He looked with such calmness on his slain adversary.

Note return to page 428 9You undergo too strict a paradox,] You undertake a paradox too hard.

Note return to page 429 1&lblank; and make his wrongs His outsides; wear them like his raiment, carelesly;] It should be read and pointed thus, &lblank; and make his wrongs His outside wear; hang like his rayment, carelesly. Warb. The present reading is better.

Note return to page 430 2&lblank; what make we Abroad? &lblank;] What do we, or what have we to do in the field?

Note return to page 431 3The ass, more than the lion, &c.] Here is another arbitrary regulation. The original reads thus, &lblank; what make we Abroad, why then women are more valiant That stay at home, if bearing carry it: And the ass more captain than the lion, The fellow, loaden with irons, wiser than the judge, If wisdom, &c. I think it may be better adjusted thus. &lblank; what make we Abroad, why then the women are more valiant That stay at home; If bearing carry it, then is the ass More captain than the lion, and the felon Loaden with irons wiser, &c.

Note return to page 432 4&lblank; sin's extremest gust,] Gust, for aggravation. Warb. Gust is here in its common sense; the utmost degree of appetite for sin.

Note return to page 433 5&lblank; by mercy, 'tis most just.] By mercy is meant equity. But we must read, &lblank; 'tis made just. Warburton. Mercy is not put for equity. If such explanation be allowed, what can be difficult? The meaning is, I call mercy herself to witness, that defensive violence is just.

Note return to page 434 *&lblank; with 'em,] The folio, with him.

Note return to page 435 6He's a sworn rioter; he has a sin That often drowns him, and takes valour prisoner.] What is a sworn rioter? We should read, He's a swoln rioter &lblank; that is, given to all excesses, as he says of another in another place, so surfeit-swoln or swell'd. Warburton. A sworn rioter is a man who practises riot, as if he had by an oath made it his duty.

Note return to page 436 †&lblank; your reverend ages love Security, &lblank;] He charges them obliquely with being usurers.

Note return to page 437 7&lblank; I should prove so base,] Base, for dishonour'd. Warb.

Note return to page 438 8Do you dare our anger? 'Tis in few words, but spacious in effect;] This reading may pass, but perhaps the authour wrote, &lblank; our anger? 'Tis few in words, but spacious in effect.

Note return to page 439 9And, (not to swell our spirit)] What this nonsense was intended to mean I don't know; but 'tis plain Shakespear wrote, And now to swell your spirit, i. e. to provoke you still more. Warburton.

Note return to page 440 1In former copies: &lblank; And lay for hearts. 'Tis honour with most lands to be at odds;] But surely, even in a soldier's sense of honour, there is very little in being at odds with all about him: which shews rather a quarrelsome disposition than a valiant one. Besides, this was not Alcibiades's case. He was only fallen out with the Athenians. A phrase in the foregoing line will direct us to the right reading. I will lay, says he, for hearts; which is a metaphor taken from card-play, and signifies to game deep and boldly. It is plain then the figure was continued in the following line, which should be read thus, 'Tis honour with most hands to be at odds; i. e. to fight upon odds, or at disadvantage; as he must do against the united strength of Athens: And this, by soldiers, is accounted honourable. Shakespear uses the same metaphor, on the same occasion, in Coriolanus. He lurch'd all swords. Warburton. I think hands is very properly substituted for lands. In the foregoing line, for, lay for hearts, I would read, play for hearts.

Note return to page 441 2Upon that were my thoughts tiring,] A hawk, I think, is said to tire, when she amuses herself with pecking a pheasant's wing, or any thing that puts her in mind of prey. To tire upon a thing, is therefore, to be idly employed upon it.

Note return to page 442 3The rest of your fees.] We should read foes. Warb.

Note return to page 443 4Is your perfection. &lblank;] Perfection, for exact or perfect likeness. Warburton. Your perfection, is the highest of your excellence.

Note return to page 444 5&lblank; and spangled you with flatteries,] We should certainly read, &lblank; and spangled with your flatteries, Warb. The present reading is right.

Note return to page 445 6Time-flies,] Flies of a season.

Note return to page 446 7&lblank; minute-jacks;] Hanmer thinks it means Jack a lantern, which shines and disappears in an instant. What it was I know not; but it was something of quick motion, mentioned in Richard III.

Note return to page 447 *&lblank; the infinite malady] Every kind of disease incident to man and beast.

Note return to page 448 8Act 4.] The incidents of almost all the following scenes are taken from the Timon of Lucian. Warburton.

Note return to page 449 9&lblank; i'th'brothel.] So Hanmer. The old copies read, o'th' brothel.

Note return to page 450 1&lblank; yet confusion &lblank;] Hanmer reads, let confusion; but the meaning may be, though by such confusion all things seem to hasten to dissolution, yet let not dissolution come, but the miseries of confusion continue.

Note return to page 451 *Enter Flavius,] Nothing contributes more to the exaltation of Timon's character than the zeal and fidelity of his servants. Nothing but real virtue can be honoured by domesticks; nothing but impartial kindness can gain affection from dependants.

Note return to page 452 2&lblank; from his buried fortunes] The old copies have to instead of from. The correction is Hanmer's.

Note return to page 453 3&lblank; strange unusual blood,] Of this passage, I suppose, every reader would wish for a correction; but the word, harsh as it is, stands fortified by the rhyme, to which, perhaps, it owes its introduction. I know not what to propose. Perhaps, &lblank; strange unusual mood, may, by some, be thought better, and by others worse.

Note return to page 454 4O blessed, breeding sun, &lblank;] The sense, as well as elegance of the expression, requires that we should read, O blessing breeding sun, i. e. Thou that before usedst to breed blessings, now breed curses and contagion; as afterwards he says, Thou sun, that comfort'st, burn. Warburton. I do not see that this emendation much strengthens the sense.

Note return to page 455 5&lblank; thy sister's orb] That is, the moon's, this sublunary world.

Note return to page 456 6&lblank; Not ev'n nature, To whom all sores lay siege, &lblank;] He had said the brother could not bear great fortune without despising his brother. He now goes further, and asserts that even human nature cannot bear it, but with contempt of its common nature. The sentence is ambiguous, and, besides that, otherwise obscure. I am persuaded that our author had Alexander here principally in mind; whose uninterrupted course of successes, as we learn from history, turned his head, and made him fancy himself a God, and contemn his human origin. The Poet says, ev'n nature, meaning nature in its greatest perfection: And Alexander is represented by the ancients as the most accomplish'd person that ever was, both for his qualities of mind and body, a kind of masterpiece of nature. He adds, To whom all sores lay siege, &lblank; i. e. Although the imbecility of the human condition might easily have informed him of his error. Here Shakespear seems to have had an eye to Plutarch, who, in his life of Alexander, tells us, that it was that which stagger'd him in his sober moments concerning the belief of his Divinity. &GREsa;&grl;&gre;&grg;&gre;&grn; &grd;&greg; &grm;&graa;&grl;&gri;&grs;&grt;&gra; &grs;&gru;&grn;&gri;&gre;&grn;&gra;&gri; &grq;&grn;&grh;&grt;&grog;&grst; &grwsg;&grn; &gres;&grk; &grt;&gro;&gruc; &grk;&gra;&grq;&gre;&grua;&grd;&gre;&gri;&grn; &grk;&gra;&grig; &grs;&gru;&gri;&gro;&gru;&grs;&gria;&gra;&grz;&gre;&gri;&grn;&grcolon; &grwr;&grst; &gras;&grp;&grog; &grm;&gri;&grac;&grst; &gres;&grg;&grg;&gri;&grn;&groa;&grm;&gre;&grn;&gro;&grn; &gras;&grs;&grq;&gre;&grn;&gre;&gria;&gra;&grst; &grt;&grhci; &grf;&grua;&grs;&gre;&gri; &grk;&gra;&grig; &grt;&grog; &grp;&gro;&grn;&gro;&gruc;&grn; &grk;&gra;&grig; &grt;&grog; &grhs;&grd;&groa;&grm;&gre;&grn;&gro;&grn;. Warb. I have preserved this note rather for the sake of the commentator than of the authour. How nature, to whom all sores lay siege, can so emphatically express nature in its greatest perfection, I shall not endeavour to explain. The meaning I take to be this: Brother when his fortune is inlarged will scorn brother; for this is the general depravity of human nature, which besieged as it is by misery, admonished as it is of want and imperfection, when elevated by fortune, will despise beings of nature like its own.

Note return to page 457 7Raise me this Beggar, and deny't that Lord,] Where is the sense and English of deny't that Lord? Deny him what? What preceding Noun is there to which the pronoun It is to be referr'd? And it would be absurd to think the Poet meant, deny to raise that Lord. The Antithesis must be, let fortune raise this beggar, and let her strip and despoil that lord of all his pomp and ornaments, &c. which sense is compleated by this slight alteration, &lblank; and denude that lord. So lord Rea in his relation of M. Hamilton's plot, written in 1630, All these Hamiltons had denuded themselves of their fortunes and estates. And Charles the First, in his message to the parliament, says, Denude ourselves of all. Clar. Vol. 3. p. 15. Octavo Edit. Warburton.

Note return to page 458 8It is the Pasture lards the Beggar's sides,] This, as the editors have order'd it, is an idle repetition at the best; supposing it did, indeed, contain the same sentiment as the foregoing lines. But Shakespear meant a quite different thing: and having, like a sensible writer, made a smart observation, he illustrates it by a similitude thus: It is the Pasture lards the Weather's sides, The Want that makes him lean. And the similitude is extremely beautiful, as conveying this satirical reflexion; there is no more difference between man and man in the esteem of superficial or corrupt judgments, than between a fat sheep and a lean one. Warburton. This passage is very obscure, nor do I discover any clear sense even though we should admit the emendation. Let us inspect the text as I have given it from the original edition. It is the Pastour lards the Brother's sides, The want that makes him leave. Dr. Warburton found the passage already changed thus, It is the Pasture lards the Beggar's sides, The want that makes him lean. And upon this reading, of no authority, raised another equally uncertain. Alterations are never to be made without necessity. Let us see what sense the genuine reading will afford. Poverty, says the Poet, bears contempt hereditary, and wealth nat ve honour. To illustrate this position, having already mentioned the case of a poor and rich brother, he remarks, that this preference is given to wealth by those whom it least becomes; it is the Pastour that greases or flatters the rich brother, and will grease him on till want makes him leave. The Poet then goes on to ask, Who dares to say, this man, this Pastour, is a flatterer; the crime is universal; through all the world the learned pate, with allusion to the Pastour, ducks to the golden fool. If it be objected, as it may justly be, that the mention of Pastour is unsuitable, we must remember the mention of grace and cherubims in this play, and many such anachronisms in many others. I would therefore read thus: It is the Pastour lards the brother's sides, 'Tis want that makes him leave. The obscurity is still great. Perhaps a line is lost. I have at least given the original reading.

Note return to page 459 9&lblank; for every greeze of fortune] Greeze, for step or degree. Pope.

Note return to page 460 1&lblank; no idle votarist.] No insincere or inconstant supplicant. Gold will not serve me instead of roots.

Note return to page 461 2&lblank; why, this Will lug your priests and servants from your sides:] Aristophanes in his Plutus, Act 5. Scene 2. makes the priest of Jupiter desert his service to live with Plutus. Warburton.

Note return to page 462 3Pluck stout mens' pillows from below their heads] i. e. men who have strength yet remaining to struggle with their distemper. This alludes to an old custom of drawing away the pillow from under the heads of men in their last agonies, to make their departure the easier. But the Oxford Editor, supposing stout to signify healthy, alters it to sick; and this he calls emending. Warburton.

Note return to page 463 4That makes the wappen'd widow wed again;] Waped or wappen'd signifies both sorrowful and terrified, either for the loss of a good husband, or by the treatment of a bad. But gold, he says, can overcome both her affection and her fears. Warb. Of wappened I have found no example, nor know any meaning. To a whape is used by Spenser in his Hubberd's tale, but I think not in either of the senses mentioned. I would read wained, for decayed by time. So our authour in Richard the third, A beauty-waining and distressed widow.

Note return to page 464 5To th' April day again.] That is, to the wedding-day, called by the poet, satirically, April day, or fool's day.

Note return to page 465 6Do thy right nature.] Lie in the earth where nature laid thee.

Note return to page 466 7Thou'rt quick,] Thou hast life and motion in thee.

Note return to page 467 *I will not kiss thee,] This alludes to an opinion in former times, generally prevalent, that the venereal infection transmitted to another, left the infecter free. I will not, says Timon, take the rot from thy lips by kissing thee.

Note return to page 468 *If thou wilt not promise, &c] That is, however thou mayst act, since thou art man, hated man, I wish thee evil.

Note return to page 469 8Be a whore still They love thee not, that use thee, Give them diseases, leaving with thee their lust: Make use of thy salt hours, &c.] There is here a slight transposition. I would read, &lblank; They love thee not that use thee, Leaving with thee their lust; give them diseases, Make use of thy salt hours, season the slave For tubs and baths.

Note return to page 470 9To the Fub-fast, and the diet.] One might make a very long and vain search, yet not be able to meet with this preposterous word Fub-fast, which has notwithstanding passed current with all the editors. We should read Tub-fast. The author is alluding to the Lues Venerea, and its effects. At that time the cure of it was performed either by Guaiacum, or Mercurial Unctions: and in both cases the patient was kept up very warm and close; that in the first application the sweat might be promoted; and lest, in the other, he should take cold, which was fatal. The regimen for the course of Guaiacum (says Dr. Friend in his Hist. of Physick, Vol. 2. p. 380.) was at first strangely circumstantial; and so rigorous, that the patient was put into a dungeon in order to make him sweat; and in that manner, as Fallopius expresses it, the bones and the very man himself was macerated. Wiseman says, in England they used a Tub for this purpose, as abroad, a cave, or oven, or dungeon. And as for the Unction, it was sometimes continued for thirty seven days; (as he observes, p. 375.) and during this time there was necessarily an extraordinary abstinence required. Hence the term of the Tub-fast. Warburton.

Note return to page 471 1Be as a planetary plague, when Jove Will o'er some high-vic'd city hang his poison In the sick air: &lblank;] This is wonderfully sublime and picturesque. Warburton.

Note return to page 472 2That through the window-barn] How the words come to be blundered into this strange nonsense, is hard to conceive. But it is plain Shakespear wrote, &lblank; Window-lawn &lblank; i. e. lawn almost as transparent as glass windows. Warb. The reading is more probably window-bars. The virgin that shows her bosom through the lattice of her chamber.

Note return to page 473 3&lblank; exhaust their mercy;] For exhaust, Sir T. Hanmer, and after him Dr. Warburton, read extort; but exhaust here signifies literally to draw forth.

Note return to page 474 *bastard] An allusion to the tale of Oedipus.

Note return to page 475 4And to make whore a bawd.] The power of gold, indeed, may be suppos'd great, that can make a whore forsake her trade; but what mighty difficulty was there in making a whore turn bawd? And yet, 'tis plain, here he is describing the mighty power of gold. He had before shewn, how gold can persuade to any villany; he now shews that it has still a greater force, and can even turn from vice to the practice, or, at least, the semblance of virtue. We must therefore read, to restore sense to our author, And to make whole a Bawd &lblank; i. e. not only make her quit her calling, but thereby restore her to reputation. Warburton. The old edition reads, And to make whores a bawd. That is, enough to make a whore leave whoring, and a bawd leave making whores.

Note return to page 476 5I'll trust to your conditions.] You need not swear to continue whores, I will trust to your inclinations.

Note return to page 477 6&lblank; yet may your pains six months Be quite contrary &lblank;] This is obscure, partly from the ambiguity of the word pains, and partly from the generality of the expression. The meaning is this, he had said before, follow constantly your trade of debauchery: that is, (says he) for six months in the year. Let the other six be employed in quite contrary pains and labour, namely, in the severe discipline necessary for the repair of those disorders that your debaucheries occasion, in order to sit you anew to the trade; and thus let the whole year be spent in these different occupations. On this account he goes on, and says, Make false hair, &c. But for, pains six months, the Oxford Editor reads, pains exterior. What he means I know not. Warburton. The explanation is ingenious, but I think it very remote, and would willingly bring the authour and his readers to meet on easier terms. We may read, &lblank; yet may your pains six months Be quite contraried. Timon is wishing ill to mankind, but is afraid lest the whores should imagine that he wishes well to them; to obviate which he lets them know, that he imprecates upon them influence enough to plague others, and disappointments enough to plague themselves. He wishes that they may do all possible mischief, and yet take pains six months of the year in vain. In this sense there is a connection of this line with the next. Finding your pains contraried, try new expedients, thatch your thin roofs and paint. To contrary is an old verb. Latymer relates, that when he went to court, he was advised not to contrary the king.

Note return to page 478 7&lblank; mens' spurring.] Hanmer reads sparring, properly enough, if there be any ancient example of the word.

Note return to page 479 8&lblank; that his particular to foresee] In this beautiful passage there is a strange jumble of metaphors: To smell in order to foresee, is using the benefit of the senses in a very absurd way. The sense too, is as bad as the expression: Men do not forsake and betray the public in order to foresee their own particular advantage, but to provide for it. Foreseeing is not the consequence of betraying, but one of the causes of it. Without doubt we should read, Of him, that, his particular to forefend, Smells from the gen'ral weal &lblank; i. e. provide for, secure. Forefend has a great force and beauty in this place, as signifying not barely to secure, but to make a previous provision for securing. Warburton. The metaphor is apparently incongruous, but the sense is good. To foresee his particular, is to provide for his private advantage, for which he leaves the right scent of publick good. In hunting, when hares have cross'd one another, it is common for some of the hounds to smell from the general weal, and foresee their own particular. Shakespeare, who seems to have been a skilful sportsman, and has alluded often to falconry, perhaps alludes here to hunting. To the commentator's emendation it may be objected, that he used forefend in the wrong meaning. To forefend is, I think, never to provide for, but to provide against. The verbs compounded with for or fore have commonly either an evil or negative sense.

Note return to page 480 9Whose womb unmeasurable, and infinite breast] This image it taken from the ancient statues of Diana Ephesia Multimammia, called &grp;&gra;&grn;&gra;&gria;&gro;&grl;&gro;&grst; &grf;&grua;&grs;&gri;&grst; &grp;&graa;&grn;&grt;&grw;&grn; &grM;&grha;&grt;&grh;&grr;; and is a very good comment on those extraordinary figures. See Mountfaucon. l' Antiquité expliquée, l. 3. c. 15. Hesiod alluding to the same representations, calls the earth &grG;&grA;&grI;&grap; &grE;&grU;&grR;&grU;&grS;&grT;&grE;&grR;&grN;&grO;&grST;. Warburton.

Note return to page 481 1&lblank; eyeless venom'd worm;] The serpent which we, from the smallness of his eyes, call the blind worm, and the Latins, Cæcilia.

Note return to page 482 2&lblank; below crisp heav'n,] We should read cript, i. e. vaulted, from the Latin Crypta, a vault. Warburton. Mr. Upton declares for crisp, curled, bent, hollow.

Note return to page 483 3Let it no more bring out ungrateful man.] This is an absurd reading. Shakespear wrote, &lblank; bring out to ungrateful man, i. e. fruits for his sustinence and support; but let it rather teem with monsters to his destruction. Nor is it to be pretended that this alludes to the fable: For he is speaking of what the earth now brings forth; which thought he repeats afterwards, Dry up thy harrow'd veins, and plow-torn leas, &c. Warburton. It is plain that bring out is bring forth, with which the following lines correspond so plainly, that the commentator may be suspected of writing his note without reading the whole passage.

Note return to page 484 4Dry up thy marrows, veins and plow-torn leas,] The integrity of the metaphor absolutely requires that we should read, Dry up thy harrow'd veins, and plow-torn leas. Mr. Theobald owns that this gives a new beauty to the verse, yet as unctious morsels follows, marrows might have gone before, and mean the fat of the land. That is, because there is a metaphor afterwards that suits it, it may be admitted, tho' it violates the metaphor in the place it is used in. But this unhappy critic never consider'd that men ought to earn this fat before they eat it. From this emendation the Oxford Editor has sprung another, and reads, Dry up thy Meadows, Vineyards &lblank; Warb. I cannot concur to censure Theobald as a critick very unhappy. He was weak, but he was cautious: finding but little power in his mind, he rarely ventured far under its conduct. This timidity hindered him from daring conjectures, and sometimes hindered him happily. This passage, among many others, may pass without change. The genuine reading is not marrows, veins, but marrows, vines: and the sense is this; O, nature! cease to produce men, ensear thy womb; but if thou wilt continue to produce them, at least cease to pamper them; dry up thy marrows on which they fatten with unctuous morsels, thy vines which give them likerish draughts, and thy plow-torn leas. Here are effects corresponding with causes, likerish draughts with vines, and unctuous morsels with marrows, and the old reading literally preserved.

Note return to page 485 5Shame not these woods.] But how did Timon any more shame the woods by assuming the character of a Cynic, than Apemantus did? The poet certainly meant to make Apemantus say, Don't disgrace this garb, which thou hast only affected to assume; and to seem the creature thou art not by nature, but by the force and compulsion of poverty. We must therefore restore, &lblank; Shame not these weeds. Apemantus, in several other passages of the scene, reproaches him with his change of garb. Warburton. This emendation is not worse nor better than the common reading.

Note return to page 486 6&lblank; the cunning of a carper.] For the Philosophy of a Cynic, of which sect Apemantus was; and therefore he concludes, &lblank; Do not assume my likeness. Warburton. Cunning here seems to signify counterfeit appearance.

Note return to page 487 7&lblank; moist trees.] Hanmer reads very elegantly, moss'd trees.

Note return to page 488 8Tim. Always a Villain's Office or a Fool's. Do'st please thyself in't? Apem. Ay. Tim. What! a knave too?] Mr. Warburton proposes a Correction here, which, tho' it opposes the Reading of all the printed Copies, has great Justness and Propriety in it. He would read; What! and know't too? The Reasoning of the Text, as it stands in the Books, is, in some sort, concluding backward: or rather making a Knave's and a Villain's Office different: which, surely, is absurd. The Correction quite removes the Absurdity, and gives this sensible Rebuke. “What! Do'st thou please thyself in vexing me, and at the same time know it to be the Office of a Villain or Fool.” Theobald. Such was Dr. Warburton's first conjecture, but afterwards he adopted Sir T. Hanmer's conjecture, what a knave thou; but there is no need of alteration. Timon had just called Apemantus fool, in consequence of what he had known of him by former acquaintance; but when Apemantus tells him, that he comes to vex him, Timon determines that to vex is either the office of a villain or a fool; that to vex by design is villany, to vex without design is folly. He then properly asks Apemantus whether he takes delight in vexing, and when he answers, ye, Timon replies, what, and knave too? I before only knew thee to be a fool, but I now find thee likewise a knave. This seems to be so clear as not to stand in need of a comment.

Note return to page 489 9&lblank; is crown'd before;] Arrives sooner at high wish; that is, at the completion of its wishes.

Note return to page 490 1&lblank; by his breath, &lblank;] It means, I believe, by his counsel, by his direction.

Note return to page 491 2&lblank; but bred a dog.] Alluding to the word Cynic, of which sect Apemantus was. Warb.

Note return to page 492 3Hadst thou, like us] There is in this speech a sullen haughtiness, and malignant dignity, suitable at once to the lord and the manhater. The impatience with which he bears to have his luxury reproached by one that never had luxury within his reach, is natural and graceful. There is in a letter written by the earl of Essex, just before his execution, to another nobleman, a passage somewhat resembling this, with which I believe every reader will be pleased, though it is so serious and solemn that it can scarcely be inserted without irreverence. “God grant your lordship may quickly feel the comfort I now enjoy in my unfeigned conversion, but that you may never feel the torments I have suffered for my long delaying it. I had none but deceivers to call upon me, to whom I said, if my ambition could have entered into their narrow breasts, they would not have been so humble; or if my delights had been once tasted by them, they would not have been so precise. But your lordship hath one to call upon you, that knoweth what it is you now enjoy; and what the greatest fruit and end is of all contentment that this world can afford. Think therefore, dear earl, that I have staked and buoyed all the ways of pleasure unto you, and left them as sea-marks for you to keep the channel of religious virtue. For shut your eyes never so long, they must be open at the last, and then you must say with me, there is no peace to the ungodly”

Note return to page 493 *From infancy. Swath is the dress of a new-born child.

Note return to page 494 4&lblank; precepts of respect, &lblank;] Of obedience to laws.

Note return to page 495 5&lblank; But myself,] The connection here requires some attention But is here used to denote opposition; but what immediately precedes is not opposed to that which follows. The adversative particle refers to the two first lines. Thou art a slave, whom fortune's tender arm With favour never claspt; but bred a dog. &lblank; But myself, Who had the world as my confectionary, &c. The intermediate lines are to be considered as a parenthesis of passion.

Note return to page 496 *&lblank; that poor rag,] If we read poor rogue, it will correspond rather better to what follows.

Note return to page 497 6Thou hadst been knave and flatterer.] Dryden has quoted two verses of Virgil to shew how well he could have written satires. Shakespeare has here given a specimen of the same power by a line bitter beyond all bitterness, in which Timon tells Apemantus, that he had not virtue enough for the vices which he condemns. Dr. Warburton explains worst by lowest, which somewhat weakens the sense, and yet leaves it sufficiently vigorous.

Note return to page 498 7for too much curiosity;] i. e. for too much finical delicacy. The Oxford Editor alters it to courtesy. Warburton.

Note return to page 499 8Ay, though it look like thee.] Timon here supposes that an objection against hatred, which through the whole tenour of the conversation appears an argument for it. One would expect him to have answered, Yes, for it looks like thee. The old edition, which always gives the pronoun instead of the affirmative particle, has it, I, though it look like thee. Perhaps we should read, I thought it look'd like thee.

Note return to page 500 9The account given of the unicorn is this: that he and the lion being enemies by nature, as soon as the lion sees the unicorn he betakes himself to a tree: the unicorn in his fury, and with all the swiftness of his course, running at him, sticks his horn fast in the tree, and then the lion falls upon him and kills him. Gesner Hist. Animal. Hanmer.

Note return to page 501 1Thou art the cap, &c.] i. e. the property, the bubble. Warburton. I rather think, the top, the principal. The remaining dialogue has more malignity than wit.

Note return to page 502 2A Plague on thee! Apem. &lblank; Thou art too bad to curse.] In the former Editions, this whole Verse was placed to Apemantus: by which, absurdly, he was made to curse Timon, and immediately to subjoin that he was too bad to curse. Theobald.

Note return to page 503 3'Twixt natural son and sire!] &grD;&gri;&grag; &grt;&gro;&gruc;&grt;&gro;&grn; &gro;&grus;&grk; &gras;&grd;&gre;&grl;&grf;&groa;&gri; &grD;&gri;&grag; &grt;&gro;&gruc;&grt;&gro;&grn; &gro;&grus; &grt;&gro;&grx;&grhc;&gre;&grst;. Anac.

Note return to page 504 4Whose blush doth thaw the consecrated snow, That lies on Dian's lap! &lblank;] The imagery is here exquisitely beautiful and sublime. Warb.

Note return to page 505 *More things like men &lblank;] This line, in the old edition, is given to Apemantus, but it apparently belongs to Timon. Hanmer has transposed the foregoing dialogue according to his own mind, not unskilfully, but with unwarrantable license.

Note return to page 506 5&lblank; you want much of meat.] Thus both the Player and poetical Editors have given us this Passage; quite Sand-blind, as honest Launcelot says, to our Author's Meaning. If these poor Thieves wanted Meat, what greater Want could they be curs'd with, as they could not live on grass, and berries, and water? but I dare warrant, the Poet wrote, &lblank; you want much of meet. i. e. Much of what you ought to be: much of the Qualities befitting you as human Creatures. Theobald. Such is Mr. Theobald's emendation, in which he is followed by Dr. Warburton. Sir T. Hanmer reads, you want much of men. They have been all busy without necessity. Observe the series of the conversation. The thieves tell him, that they are men that much do want. Here is an ambiguity between much want and want of much. Timon takes it on the wrong side, and tells them that their greatest want is, that, like other men, they want much of meat; then telling them where meat may be had, he asks, Want? why want? What need is there now of emendation?

Note return to page 507 6&lblank; the earth hath roots; &c] Vile olus, et duris hærentia mora rubetis Pugnantis stomachi composuere famem: Flumine vicino scultus fitit. I do not suppose these to be imitations, but only to be similar thoughts on similar occasions.

Note return to page 508 7In limited professions. &lblank;] Limited, for legal. Warburton.

Note return to page 509 8&lblank; takes wealth and life together.] Hanmer. The first copy has, &lblank; take wealth and lives together. The later editors gave it, &lblank; take wealth and live together.

Note return to page 510 9The Sea's a thief, whose liquid surge resolves The Moon into salt tears. &lblank;] The Sea melting the Moon into tears, is, I believe, a secret in philosophy, which no body but Shakespear's deep Editors ever dream'd of. There is another opinion which 'tis more reasonable to believe that our Author may allude to, viz. that the saltness of the Sea is caused by several ranges, or Mounds of rock-salt under water, with which resolving liquid the Sea was impregnated. This I think, a sufficient authority for changing Moon into Mounds. Warb. I am not willing to receive mounds, which would not be understood but by him that had suggested it. The moon is supposed to be humid, and perhaps a source of humidity, but cannot be resolved by the surges of the sea. Yet I think moon is the true reading. Here is a circulation of thievery described: the sun, moon and sea, all rob, and are robbed.

Note return to page 511 1'Tis in the malice of mankind, that he thus advises us; not to have us thrive in our mystery.] i. e. 'Tis the common malice of mankind that makes One give such advice to Another, as may prove to his Detriment. One would think this easy enough. But the Oxford Editor reads,'Tis in his malice to mankind, that he thus advises us, not to have us thrive in our mystery. Which is making compleat nonsense of the whole reflection: For if Timon gave this advice, out of his malice to his species, he was in earnest, and so far from having any design that they should not thrive in their mystery, that his utmost wish was that they might. Warburton. Hanmer's emendation, though not necessary, is very probable, and very unjustly charged with nonsense. The reason of his advice, says the thief, is malice to mankind, not any kindness to us, or desire to have us thrive in our mystery.

Note return to page 512 2Let us first see peace in Athens, &c.] This and the concluding little speech have in all the editions been placed to one speaker: But, 'tis evident, the latter words ought to be put in the mouth of the second thief, who is repenting, and leaving off his trade. Warburton.

Note return to page 513 3What change of honour desp'rate want has made?] We should read, What change of humour &lblank; Warburton. The original copy has, what an alteration of honour has desperate want made. The present reading is certainly better, but it has no authority. To change honour to humour is not necessary. A change of honour, is a change of an honourable state to a taste of disgrace.

Note return to page 514 4How rarely does it meet &lblank;] Rarely, for fitly; not for seldom. Warburton.

Note return to page 515 5When man was wisht &lblank;] We should read will'd. He forgets his pagan system here again. Warburton.

Note return to page 516 6Grant, I may ever love, and rather woo Those that would mischief me, than those that do!] But why so? Was there ever such an ass, I mean, as the transcriber? Shakespeare wrote it, Grant, I may ever love, and rather too Those that would mischief me, than those that woo! The Steward, affected with his master's misfortunes and meditating on the cause of it, says, What an excellent precept is that of loving our enemies; grant that I may love them to chuse, rather than flatterers. All here is sensible, and to the purpose, and makes the whole coherent. But when once the transcribers had blundered too to woo in the first line, they were obliged, in their own defence, in the second line, to alter woo to do. Warburton. In defiance of this criticism I have ventured to replace the former reading, as more suitable to the general spirit of these scenes, and as free from the absurdities charged upon it. It is plain that in this whole speech friends and enemies are taken only for those who profess friendship and profess enmity; for the friend is supposed not to be more kind but more dangerous than the enemy. In the emendation those that would mischief are placed in opposition to those that woo, but in the speaker's intention those that woo are those that mischief most. The sense is, Let me rather woo or caress those that would mischief, that profess to mean me mischief, than those that really do me mischiefs under false professions of kindness. The Spaniards, I think, have this proverb; Defend me from my friends, and from my enemies I will defend myself. This proverb is a sufficient comment on the passage.

Note return to page 517 *Knave is here in the compounded sense of a servant and a rascal.

Note return to page 518 7&lblank; Pity's sleeping;] I do not know that any correction is necessary, but I think we might read, &lblank; eyes do never give But thorough lust and laughter, pity sleeping. Eyes never flow (to give is to dissolve as saline bodies in moist weather) but by lust or laughter, undisturbed by emotions of pity.

Note return to page 519 8It almost turns my dangerous nature wild.] i. e. It almost turns my dangerous nature to a dangerous nature; for, by dangerous nature, is meant wildness. Shakespear wrote, It almost turns my dangerous nature mild. i. e. It almost reconciles me again to mankind. For fear of that, he puts in a caution immediately after, that he makes an exception but for one man. To which the Oxford Editor says, rectè. Warburton. This emendation is specious, but even this may be controverted. To turn wild is to distract. An appearance so unexpected, says Timon, almost turns my savageness to distraction. Accordingly he examines with nicety lest his phrenzy should deceive him. Let me behold thy face. Surely this man Was born of woman. And to this suspected disorder of mind he alludes. Perpetual, sober, Gods! &lblank; Ye powers whose intellects are out of the reach of perturbation.

Note return to page 520 9&lblank; from men.] Away from human habitations.

Note return to page 521 1Debts wither] Debts wither them to nothing. Folio.

Note return to page 522 2Enter Poet and Painter.] The poet and the painter were within view when Apemantus parted from Timon, and might then have seen Timon, since Apemantus, standing by him, could see them: But the scenes of the thieves and the steward have pass'd before their arrival, and yet passed, as the drama is now conducted, within their view. It might be suspected that some scenes are transposed, for all these difficulties would be removed by introducing the poet and painter first, and the thieves in this place. Yet I am afraid the scenes must keep their present order; for the painter alludes to the thieves, when he says, he likewise enriched poor straggling soldiers with great quantity. This impropriety is now heighten'd by placing the thieves in one act, and the poet and painter in another: but it must be remembered, that in the original edition this play is not divided into separate acts, so that the present distribution is arbitrary, and may be changed if any convenience can be gained, or impropriety obviated by alteration.

Note return to page 523 3the deed is] In the old edition, the deed of saying is quite out of use.

Note return to page 524 4it must be a personating of himself;] Peronating, for representing simply. For the subject of this projected satire was Timon's case, not his person. Warb.

Note return to page 525 5While the day serves, before black-corner'd night,] We should read, &lblank; black-cornette night. A cornette is a woman's head-dress for the night. So in another place he calls her, black-brow'd night. Warburton. Black-corner'd night is probably corrupt, but black cornette can hardly be right, for it should be black-cornetted night. I cannot propose any thing, but must leave the place in its present state.

Note return to page 526 6Let it go naked, men may see't the better:] The humour of this reply is incomparable. It insinuates not only the highest contempt of the flatterer in particular, but this useful lesson in general, that the images of things are clearest seen through a simplicity of phrase; of which in the words of the precept, and in those which occasion'd it, he has given us examples. Warb.

Note return to page 527 *&lblank; a made-up villain.] That is, a villain that adopts qualities and characters not properly belonging to him; a hypocrite.

Note return to page 528 7&lblank; in a draught,] That is, in the jakes.

Note return to page 529 8&lblank; But two in company &lblank;] This is an imperfect sentence, and is to be supplied thus, But two in company spoils all. Warb. This passage is obscure. I think the meaning is this: but two in company, that is, stand apart, let only two be together; for even when each stands single there are two, he himself and a villain.

Note return to page 530 9And now &lblank;] So Hanmer. The old editions have, which now.

Note return to page 531 1Of its own Fall, &lblank;] The Oxford Editor alters Fall to Fault, not knowing that Shakespear uses Fall to signify dishonour, not destruction. So in Hamlet, What a falling off was there! Warburton. The truth is, that neither fall means disgrace, nor is fault a necessary emendation. Falling off in the quotation is not disgrace, but defection. The Athenians had sense, that is, felt the danger of their own fall, by the arms of Alcibiades.

Note return to page 532 2&lblank; restraining aid to Timon;] I think it should be refraining aid, that is, witholding aid that should have been given to Timon.

Note return to page 533 3Than their offence can weigh down by the dram;] This which was in the former editions can scarcely be right, and yet I know not whether my reading will be thought to rectify it. I take the meaning to be, We will give thee a recompence that our offences cannot outweigh, heaps of wealth down by the dram, or delivered according to the exactest measure. A little disorder may perhaps have happened in transcribing, which may be reformed by reading, &lblank; Ay, ev'n such heaps And sums of love and wealth, down by the dram, As shall to thee &lblank;

Note return to page 534 4Allow'd with absolute power,] This is neither English nor sense. We should read, Hallow'd with absolute power, i. e. Thy person shall be held sacred. For absolute power being an attribute of the Gods, the ancients thought that he who had it in society, was become sacred, and his person inviolable: On which account, the Romans called the Tribunitial-power of the Emperors, Sacrosancta potestas. Warburton. Allowed is licensed, privileged, uncontrolled. So of a Buffoon in Love's Labour lost, it is said, that he is allowed, that is, at liberty to say what he will, a privileged scoffer.

Note return to page 535 *&lblank; My long sickness] The disease of life begins to promise me a period.

Note return to page 536 5&lblank; in the sequence of degree,] Methodically, from highest to lowest.

Note return to page 537 6In our dear peril.] So the Folios, and rightly. The Oxford Editor alters dear to dread, not knowing that dear, in the language of that time, signified dread, and is so used by Shakespear in numberless places. Warburton.

Note return to page 538 7Some beast read this; here does not live a man.] Some beast read what? The soldier had yet only seen the rude pile of earth heap'd up for Timon's grave, and not the Inscription upon it. We should read, Some beast rear'd this; &lblank; The soldier seeking, by order, for Timon, sees such an irregular mole, as he concludes must have been the workmanship of some beast inhabiting the woods; and such a cavity, as either must have been so over-arched, or happened by the casual falling in of the ground. Warburton. Notwithstanding this remark, I believe the old reading to be the right. The soldier had only seen the rude heap of earth. He had evidently seen something that told him Timon was dead; and what could tell that but his tomb? The tomb he sees, and the inscription upon it, which not being able to read, and finding none to read it for him, he exclaims peevishly, some beast read this, for it must be read, and in this place it cannot be read by man. There is something elaborately unskilful in the contrivance of sending a soldier, who cannot read, to take the epitaph in wax, only that it may close the play by being read with more solemnity in the last scene.

Note return to page 539 8&lblank; traverst arms, &lblank;] Arms across.

Note return to page 540 9&lblank; the time is flush.] A bird is flush when his feathers are grown, and he can leave the nest. Flush is mature.

Note return to page 541 1When crouching marrow in the bearer strong Cries, of itself, no more:] The marrow was supposed to be the original of strength. The image is from a camel kneeling to take up his load, who rises immediately when he finds he has as much laid on as he can bear. Warb.

Note return to page 542 2Above their quantity.] Their refers to rages. Warb.

Note return to page 543 3&lblank; So did we wooe Transformed Timon to our City's Love By humble Message, and by promis'd, means:] Promis'd Means must import the recruiting his sunk Fortunes; but this is not all. The Senate had wooed him with humble Message, and Promise of general Reparation. This seems included in the slight change which I have made— and by promis'd mends. Theob. Dr. Warburton agrees with Mr Theobald, but the old reading may well stand.

Note return to page 544 4Shame, that they wanted Cunning in Excess, Hath broke their Hearts.] i. e. in other Terms.—Shame, that they were not the cunning'st Men alive, hath been the Cause of their Death. For Cunning in Excess must mean this or nothing. O brave Editors! They had heard it said, that too much Wit in some Cases might be dangerous, and why not an absolute Want of it? But had they the Skill or Courage to remove one perplexing Comma, the easy and genuine Sense would immediately arise. “Shame in Excess (i. e. Extremity of Shame) that they wanted Cunning (i. e. that they were not wise enough not to banish you;) hath broke their Hearts.” Theobald. I have no wish to disturb the manes of Theobald, yet think some emendation may be offered that will make the construction less harsh, and the sentence more serious. I read, Shame that they wanted coming in excess Hath broke their hearts. Shame which they had so long wanted, at last coming in its utmost excess.

Note return to page 545 5&lblank; not square &lblank;] Not regular, not equitable.

Note return to page 546 *&lblank; uncharged ports;] That is, unguarded gates.

Note return to page 547 †&lblank; not a man Shall pass his quarter, &lblank;] Not a soldier shall quit his station, or be let loose upon you; and if any commits violence, he shall answer it regularly to the law.

Note return to page 548 6&lblank; our brain's flow, &lblank;] Hanmer and Dr. Warburton read, brine's flow.

Note return to page 549 7&lblank; yet rich Conceit Taught thee to make vast Neptune weep for aye On thy low Grave, on faults forgiven. Dead Is noble Timon, of whose Memory Hereafter more. &lblank;] All the Editors, in their Learning and Sagacity, have suffer'd an unaccountable Absurdity to pass them in this Passage. Why was Neptune to weep on Timon's Faults forgiven? Or, indeed, what Faults had Timon committed, except against his own Fortune and happy Situation in Life? But the Corruption of the Text lies only in the bad Pointing, which I have disengaged, and restored to the true Meaning. Alcibiades's whole Speech, as the Editors might have observ'd, is in Breaks, betwixt his Reflections on Timon's Death, and his Addresses to the Athenian Senators: and as soon as he has commented on the Place of Timon's Grave, he bids the Senate set forward; tells 'em, he has forgiven their Faults; and promises to use them with Mercy. Theobald.

Note return to page 550 The play of Timon is a domestick Tragedy, and therefore strongly fastens on the attention of the reader. In the plan there is not much art, but the incidents are natural, and the characters various and exact. The catastrophe affords a very powerful warning against that ostentatious liberality, which scatters bounty, but confers no benefits, and buys flattery, but not friendship. In this Tragedy are many passages perplexed, obscure, and probably corrupt, which I have endeavoured to rectify or explain with due diligence; but having only one copy, cannot promise myself that my endeavours will be much applauded.

Note return to page 551 The editions of this play are, Quarto. 1594. Quarto. 1611. For Edward White. Folio. 1623. I have the two latter editions.

Note return to page 552 1It is observable, that this play is printed in the quarto of 1611, with exactness equal to that of the other books of those times. The first edition was probably corrected by the authour, so that here is very little room for conjecture or emendation; and accordingly none of the editors have much molested this piece with officious criticism.

Note return to page 553 2Hail, Rome, victorious in thy mourning Weeds!] I suspect that the poet wrote, &lblank; in my mourning Weeds. i. e. Titus would say; Thou, Rome, art victorious, tho' I am a mourner for those Sons which I have lost in obtaining that victory. Warburton. Thy is as well as my. We may suppose the Romans, in a grateful ceremony, meeting the dead sons of Andronicus with mourning habits.

Note return to page 554 3Jupiter, to whom the capitol was sacred.

Note return to page 555 4The self-same Gods, that arm'd the Queen of Troy With opportunity of sharp revenge Upon the Thracian Tyrant in his Tent, &c.] I read, against the Authority of all the Copies, —in her Tent; i. e. in the Tent where she and the other Trojan Captive Women were kept: for thither Hecuba by a Wile had decoy'd Polymnestor, in order to perpetrate her Revenge. This we may learn from Euripides's Hecuba; the only Author, that I can at present remember, from whom our Writer must have glean'd this Circumstance. Theobald.

Note return to page 556 5And fame's eternal date for virtue's praise!] This absurd wish is made sense of by changing and into in. Warb. To live in fame's date is, if an allowable, yet a harsh expression. To outlive an eternal date is, though not philosophical, yet poetical sense. He wishes that her life may be longer than his, and her praise longer than fame.

Note return to page 557 6&lblank; changing piece,] Spoken of Lavinia. Piece was then, as it is now, used personally as a word of contempt.

Note return to page 558 7In the quarto the direction is, manet Aaron, and he is before made to enter with Tamora, though he says nothing. This scene ought to continue the first act.

Note return to page 559 8Upon her wit &lblank;] We should read, Upon her will.— Warburton. I think wit, for which she is eminent in the drama, is right.

Note return to page 560 9Not I, till I have sheath'd, &c.] This speech, which has been all along given to Demetrius, as the next to Chiron, were both given to the wrong speaker. For it was Demetrius that had thrown out the reproachful speeches on the other. Warb.

Note return to page 561 1&lblank; by kind &lblank;] That is, by nature, which is the old signification of kind.

Note return to page 562 2The division of the play into acts, which was first made by the editors in 1623, is improper. There is here an interval of action, and here the second act ought to have begun.

Note return to page 563 3&lblank; the morn is bright and gray;] i. e. bright and yet not red, which was a sign of storms and rain, but gray which foretold fair weather. Yet the Oxford Editor alters gray to gay. Warburton.

Note return to page 564 4That have their alms, &c.] This is obscure. It seems to mean only that they who are to come at this gold of the empress, are to suffer by it.

Note return to page 565 5&lblank; swarth Cimmerian.] Swarth is black. The Moor is called Cimmerian from the affinity of blackness to darkness.

Note return to page 566 6&lblank; noted long.] He had yet been married but one night.

Note return to page 567 7Should straight fall mad, or else die suddenly.] This is said in fabulous physiology of those that hear the groan of the mandrake torn up.

Note return to page 568 8And with that painted Hope she braves your mightiness;] Lavinia stands upon her chastity, and nuptial vow; and upon the merit of these braves the Queen. But why are these called a painted hope? we should read. And with this painted Cope &lblank; i. e. with this gay covering. It is well expressed. Her reasons were of a religious nature; and are therefore called a painted cope, which is a splendid ecclesiastic vestment: It might be called painted, likewise, as insinuating that her virtue was only pretended. Warburton. Painted hope is only specious hope, or ground of confidence more plausible than solid.

Note return to page 569 3A precious ring, &lblank;] There is supposed to be a gem called a carbuncle, which emits not reflected but native light. Mr. Boyle believes the reality of its existence.

Note return to page 570 4If I do dream, 'would all my wealth would wake me!] If this be a dream, I would give all my possessions to be delivered from it by waking.

Note return to page 571 5two antient urns. Oxford Editor.—Vulg. two antient ruins.

Note return to page 572 6&lblank; in thy father's sight?] We should read, spight. Warb.

Note return to page 573 7It was my Deer;] The play upon Deer and dear has been used by Waller, who calls a lady's girdle, The pale that held my lovely Deer.

Note return to page 574 8Writing Destruction on the enemies' Castle?] Thus all the editions. But Mr. Theobald, after ridiculing the sagacity of the former Editors at the expence of a great deal of aukward mirth, corrects it to Casque; and this, he says, he'll stand by: And the Oxford Editor, taking his security, will stand by it too. But what a slippery ground is critical confidence! Nothing could bid fairer for a right conjecture; yet 'tis all imaginary. A close Helmet which covered the whole head, was called a Castle, and, I suppose, for that very reason. Don Quixote's barber, at least as good a critick as these Editors, says, (in Shelton's translation of 1612,) I know what is a helmet, and what a morrion, and what a close Castle, and other things touching warfare. lib. 4. cap. 18. And the original, celada de encaxe, has something of the same signification. Shakespear uses the word again in Troilus and Cressida; &lblank; and Diomede Stand fast, and wear a Castle on thy head. Warburton.6Q0214

Note return to page 575 9And do not break into these two extremes.] We should read, instead of this nonsense, &lblank; woe-extremes. i. e. extremes caused by excessive sorrow. But Mr. Theobald, on his own authority, alters it to deep, without notice given. War. It is deep in the old quarto of 1611.

Note return to page 576 1This scene, which does not contribute any thing to the action, yet seems to have the same authour with the rest, is omitted in the quarto of 1611, but found in the folio of 1623.

Note return to page 577 2&lblank; by still practice &lblank;] By constant or continual practice.

Note return to page 578 3And buz lamenting Doings in the Air.] Lamenting Doings, is a very idle Expression, and conveys no Idea. I read Dolings. The Alteration, which I have made, tho' it is but the Addition of a single Letter, is a great Increase to the Sense: and tho', indeed, there is somewhat of a Tautology in the Epithet and Substantive annext to it, yet that's no new Thing with our Author. Theobald.

Note return to page 579 4Revenge the Heav'ns &lblank;] We should read, Revenge thee, Heav'ns!— Warburton. It should be, Revenge, ye Heav'ns!— Ye was by the transcriber taken for ye, the.

Note return to page 580 5I'll broach the tadpole &lblank;] A broach is a spit. I'll spit the tad-pole.

Note return to page 581 *In that it seems to bear another hue:] We may better read, In that it scorns to bear another hue.

Note return to page 582 6Go pack with him, &lblank;] Pack here seems to have the meaning of make a bargain. Or it may mean, as in the phrase of modern gamesters, to act collusively. And mighty Dukes pack knaves for half a crown. Pope.

Note return to page 583 7Yet wrung with wrongs, &lblank;] To wring a horse is to press or strain his back.

Note return to page 584 8Enter Nuntius Æmilius.] Thus the old books have described this Character. In the Author's Manuscript, I presume, 'twas writ, Enter Nuntius; and they observing, that he is immediately called Æmilius, thought proper to give him his whole Title, and so clapped in Enter Nuntius Æmilius.—Mr. Pope has very critically followed them; and ought, methinks, to have given his new-adopted Citizen Nuntius a place in the Dramatis Personæ. Theobald.

Note return to page 585 9&lblank; honey-stalks to sheep:] Honey-stalks are clover flowers, which contain a sweet juice. It is common for cattle to overcharge themselves with clover, and die.

Note return to page 586 1Aar. Get me a Ladder. Lucius, save the Child.] All the printed Editions have given this whole Verse to Aaron. But why should the Moor here ask for a Ladder, who earnestly wanted to have his Child sav'd? Theobald.6Q0216

Note return to page 587 2As true a dog as ever fought at head;] An allusion to bulldogs, whose generosity and courage are always shown by meeting the bull in front, and seizing his nose.

Note return to page 588 3And of the paste a coffin &lblank;] A coffin is the term of art for the cavity of a raised pye.

Note return to page 589 4&lblank; break the parley;] That is, begin the parley. We yet say, he breaks his mind.

Note return to page 590 Titus Andronicus.] This is one of those Plays which I have always thought, with the better Judges, ought not to be acknowledged in the List of Shakespear's genuine Pieces. And, perhaps, I may give a Proof to strengthen this Opinion, that may put the Matter out of question. Ben Johnson, in the Introduction to his Bartholomew-Fair, which made its first Appearance in the Year 1614, couples Jeronymo and Andronicus together in Reputation, and speaks of them as Plays then of twenty-five or thirty Years standing. Consequently Andronicus must have been on the Stage before Shakespear left Warwickshire, to come and reside in London: And I never heard it so much as intimated, that he had turned his Genius to Stage-Writing before he associated with the Players, and became one of their Body. However, that he afterwards introduced it a-new on the Stage, with the Addition of his own masterly Touches, is incontestable, and thence, I presume, grew his Title to it. The Diction in general, where he has not taken the Pains to raise it, is even beneath that of the Three Parts of Henry VI. The Story we are to suppose merely fictitious. Andronicus is a Surname of pure Greek Derivation. Tamora is neither mentioned by Ammianus Marcellinus, nor any Body else that I can find. Nor had Rome, in the Time of her Emperors, any Wars with the Goths that I know of, not till after the Translation of the Empire, I mean to Byzantium, and yet the Scene of our Play is laid at Rome, and Saturninus is elected to the Empire at the Capitol. Theobald. All the editors and criticks agree with Mr. Theobald in supposing this play spurious. I see no reason for differing from them; for the colour of the stile is wholly different from that of the other plays, and there is an attempt at regular versification, and artificial closes, not always inelegant, yet seldom pleasing. The barbarity of the spectacles, and the general massacre which are here exhibited, can scarely be conceived tolerable to any audience; yet we are told by Johnson, that they were not only born but praised. That Shakespeare wrote any part, though Theobald declares it incontestable, I see no reason for believing. The chronology of this play does not prove it not to be Shakespeare's. If it had been written twenty-five years, in 1614, it might have been written when Shakespeare was twenty-five years old. When he left Warwickshire I know not, but at the age of twenty-five it was rather too late to fly for deer-stealing. Ravenscroft, who, in the reign of Charles II. revised this play, and restored it to the stage, tells us in his preface, from a theatrical tradition I suppose, which in his time might be of sufficient authority, that this play was touched in different parts by Shakespeare, but written by some other poet. I do not find Shakespeare's touches very discernible.

Note return to page 591 Of this play there is no edition more antient than that of 1623. Most of the notes which the present Editor has subjoined to this play were published by him in a small pamphlet in 1745.

Note return to page 592 *Enter three Witches.] In order to make a true estimate of the abilities and merit of a writer, it is always necessary to examine the genius of his age, and the opinions of his contemporaries. A poet who should now make the whole action of his tragedy depend upon enchantment, and produce the chief events by the assistance of supernatural agents, would be censured as transgressing the bounds of probability, be banished from the Theatre to the nursery, and condemned to write fairy tales instead of tragedies; but a survey of the notions that prevailed at the time when this play was written, will prove that Shakespeare was in no danger of such censures, since he only turned the system that was then universally admitted to his advantage, and was far from overburthening the credulity of his audience. The reality of witchcraft or enchantment, which, though not strictly the same, are confounded in this play, has in all ages and countries been credited by the common people, and in most by the learned themselves. These phantoms have indeed appeared more frequently, in proportion as the darkness of ignorance has been more gross; but it cannot be shown, that the brightest gleams of knowledge have at any time been sufficient to drive them out of the world. The time in which this kind of credulity was at its height, seems to have been that of the holy war, in which the christians imputed all their defeats to enchantments or diabolical opposition, as they ascribed their success to the assistance of their military faints; and the learned Dr. Warburton appears to believe (Suppl. in the Introduction to Don Quixote) that the first accounts of enchantments were brought into this part of the world by those who returned from their eastern expeditions. But there is always some distance between the birth and maturity of folly as of wickedness: this opinion had long existed, though perhaps the application of it had in no foregoing age been so frequent, nor the reception so general. Olympiodorus, in Photius's extracts, tells us of one Libanius, who practised this kind of military magic, and having promised &grx;&grwa;&grr;&gri;&grst; &gror;&grp;&grl;&gri;&grt;&grwc;&grn; &grk;&gra;&grt;&grag; &grb;&gra;&grr;&grb;&graa;&grr;&grw;&grn; &gres;&grn;&gre;&grr;&grg;&gre;&gric;&grn;, to perform great things against the barbarians without soldiers, was, at the instances of the Emperess Placidia, put to Death, when he was about to have given proofs of his abilities. The Emperess shewed some kindness in her anger by cutting him off at a time so convenient for his reputation. But a more remarkable proof of the antiquity of this notion may be found in St. Chrysostom's book de Sacerdotio, which exhibits a scene of enchantments not exceeded by any romance of the middle age: he supposes a spectator overlooking a field of battle attended by one that points out all the various objects of horror, the engines of destruction, and the arts of slaughter. &grD;&gre;&gri;&grk;&grn;&grua;&grt;&gro; &grd;&greg; &gresa;&grt;&gri; &grp;&gra;&grr;&grag; &grt;&gro;&gric;&grst; &gres;&grn;&gra;&grn;&grt;&gria;&gro;&gri;&grst; &grk;&gra;&grig; &grp;&gre;&grt;&gro;&grm;&grea;&grn;&gro;&gru;&grst; &grira;&grp;&grp;&gro;&gru;&grst; &grd;&gri;&graa; &grt;&gri;&grn;&gro;&grst; &grm;&gra;&grg;&grg;&gra;&grn;&gre;&gria;&gra;&grst;, &grk;&gra;&grig; &gror;&grp;&grl;&gria;&grt;&gra;&grst; &grd;&gris; &gras;&grea;&grr;&gro;&grst; &grf;&gre;&grr;&gro;&grm;&grea;&grn;&gro;&gru;&grst;, &grk;&gra;&grig; &grp;&graa;&grs;&grh;&grn; &grg;&gro;&grh;&grt;&gre;&gria;&gra;&grst; &grd;&grua;&grn;&gra;&grm;&gri;&grn; &grk;&gra;&grig; &gris;&grd;&grea;&gra;&grn;. Let him then proceed to show him in the opposite armies horses flying by enchantment, armed men transported through the air, and every power and form of magic. Whether St. Chrysostom believed that such performances were really to be seen in a day of battle, or only endeavoured to enliven his description, by adopting the notions of the vulgar, it is equally certain, that such notions were in his time received, and that therefore they were not imported from the Saracens in a later age; the wars with the Saracens however gave occasion to their propagation, not only as bigotry naturally discovers prodigies, but as the scene of action was removed to a great distance. The reformation did not immediately arrive at its meridian, and tho' day was gradually encreasing upon us, the goblins of witchcraft still continued to hover in the twilight. In the time of Queen Elizabeth was the remarkable trial of the witches of Warbois, whose conviction is still commemorated in an annual sermon at Huntingdon. But in the reign of King James, in which this tragedy was written, many circumstances concurred to propagate and confirm this opinion. The King, who was much celebrated for his knowledge, had, before his arrival in England, not only examined in person a woman accused of witchcraft, but had given a very formal account of the practices and illusions of evil spirits, the compacts of witches, the ceremonies used by them, the manner of detecting them, and the justice of punishment them, in his Dialogues of Dæmonologie, written in the Scottish dialect, and published at Edinburgh. This book was, soon after his accession, reprinted at London, and as the ready way to gain King James's favour was to flatter his speculations, the system of Dæmonologie was immediately adopted by all who desired either to gain preferment or not to lose it. Thus the doctrine of witchcraft was very powerfully inculcated; and as the greatest part of mankind have no other reason for their opinions than that they are in fashion, it cannot be doubted but his persuasion made a rapid progress, since vanity and credulity co-operated in its favour. The infection soon reached the parliament, who, in the first year of King James, made a law by which it was enacted, chap. xii. That “if any person shall use any invocation or conjuration of any evil or wicked spirit; 2. or shall consult, covenant with, entertain, employ, feed or reward any evil or cursed spirit to or for any intent or purpose; 3. or take up any dead man, woman or child out of the grave, —or the skin, bone, or any part of the dead person, to be employed or used in any manner of witchcraft, sorcery, charm, or enchantment; 4. or shall use, practise or exercise any sort of withcraft, sorcery, charm, or enchantment; 5. whereby any person shall be destroyed, killed, wasted, consumed, pined, or lamed in any part of the body; 6. That every such person being convicted shall suffer death.” This law was repealed in our own time. Thus, in the time of Shakespeare, was the doctrine of witchcraft at once established by law and by the fashion, and it became not only unpolite, but criminal, to doubt it; and as prodigies are always seen in proportion as they are expected, witches were every day discovered, and multiplied so fast in some places, that bishop Hall mentions a village in Lancashire, where their number was greater than that of the houses. The jesuits and sectaries took advantage of this universal error, and endeavoured to promote the interest of their parties by pretended cures of persons afflicted by evil spirits; but they were detected and exposed by the clergy of the established church. Upon this general infatuation Shakespeare might be easily allowed to found a play, especially since he has followed with great exactness such histories as were then thought true; nor can it be doubted that the scenes of enchantment, however they may now be ridiculed, were both by himself and his audience thought awful and affecting.

Note return to page 593 1When the Battle's lost and won.] i. e. the battle, in which Macbeth was then engaged. These wayward sisters, as we may see in a note on the third scene of this act, were much concerned in battles. Hae nominantur Valkyriæ; quas quodvis ad prælium Odinus mittit. Warburton.

Note return to page 594 2Fair is foul, and foul is fair.] i. e. We make these sudden changes of the weather. And Macbeth, speaking of this day, soon after says, So foul and fair a day I have not seen. Warburton. I believe the meaning is, that to us, perverse and malignant as we are, fair is foul, and foul is fair.

Note return to page 595 3&lblank; from the western isles Of Kernes and Gallow-glasses was supply'd;] Whether supplied of, for supplied from or with, was a kind of Grecism of Shakespear's expression; or whether of be a corruption of the editors, who took Kernes and Gallow-glasses, which were only light and heavy armed Foot, to be the names of two of the western islands, I don't know. Hinc conjecturæ vigorem etiam adjiciunt arma quædam Hibernica, Gallicis antiquis similia, jacula nimirum peditum levis armaturæ quos Kernos vocant, nec non secures & loricæ ferreæ peditum illorum gravioris armaturæ, guos Galloglassios appellant. Waræi Antiq. Hiber. cap. 6. Warburton.

Note return to page 596 4In former editions: And fortune on his damned quarry smiling.] Quarrel was formerly used for cause, or for the occasion of a quarrel, and is to be found in that sense in Hollingshead's account of the story of Macbeth, who, upon the creation of the prince of Cumberland, thought, says the historian, that he had a just quarrel to endeavour after the Crown. The sense therefore is, Fortune smiling on his execrable cause, &c. This is followed by Dr. Warburton.

Note return to page 597 5&lblank; he unseam'd him from the nave to th' chops,] We seldom hear of such terrible cross blows given and received but by giants and miscreants in Amadis de Gaule. Besides it must be a strange aukward stroke that could unrip him upwards from the navel to the chops. But Shakespear certainly wrote, &lblank; he unseam'd him from the nape to th' chops. i. e. cut his skull in two; which might be done by a High ander's sword. This was a reasonable blow, and very naturally expressed, on supposing it given when the head of the wearied combatant was reclining downwards at the latter end of a long duel. For the nape is the hinder part of the neck, where the vertebræ join to the bone of the skull. So in Coriolanus, O! that you could turn your eyes towards the napes of your necks. The word unseamed, likewise, becomes very proper; and alludes to the future which goes cross the crown of the head in that direction called the sutura sagittalis; and which, consequently, must be opened by such a stroke. It is remarkable, that Milton, who in his youth read and imitated our poet much, particularly in his Comus, was misled by this corrupt reading. For in the manuscript of that poem, in Trinity-College Library, the following lines are read thus, Or drag him by the curles, and cleave his scalpe Down to the hippes. &lblank; An evident imitation of this corrupted passage. But he alter'd it with better judgment, to &lblank; to a foul death Curs'd as his life. Warburton.

Note return to page 598 6As whence the sun 'gins his reflection.] Here are two readings in the copies, gives, and 'gins, i. e. begins. But the latter I think is the right, as founded on observation, that storms generally come from the east. As from the place (says he) whence the sun begins his course, (viz. the east) shipwrecking storms proceed, so, &c. For the natural and constant motion of the ocean is from east to west; and the wind has the same general direction. Præcipua & generalis [ventorum] causa est ipse Sol qui aërem rarefacit & attenuat. Aër enim rarefactus multo majorem locum postulat. Inde fit ut Aër à sole impulsus alium vicinum aërem magno impetu protrudat; cumque Sol ab Oriente in occidentem circumrotetur, præcipuus ab eo aëris impulsus fiet versus occidentem. Varenii Geogr. l. 1. c. 14. prop. 10. See also Doctor Halley's Account of the Trade-Winds of the Monsoons. This being so, it is no wonder that storms should come most frequently from that quarter; or that they should be most violent, because there is a concurrence of the natural motions of wind and wave. This proves the true reading is 'gins; the other reading not fixing it to that quarter. For the Sun may give its reflection in any part of its course above the horizon; but it can begin it only in one. The Oxford Editor, however, sticks to the other reading, gives: and says, that, by the Sun's giving his reflexion, is meant the rainbow, the strongest and most remarkable reflection of any the Sun gives. He appears by this to have as good a hand at reforming our physics as our poetry. This is a discovery, that shipwrecking storms proceed from the rainbow. But he was misled by his want of skill in Shakespear's phraseology, who, by the sun's reflection, means only the Sun's light. But while he is intent on making his author speak correctly, he slips himself. The rainbow is no more a reflection of the Sun than a tune is a fiddle. And, tho' it be the most remarkable effect of reflected light, yet it is not the strongest. Warburton. There are not two readings: both the old folios have 'gins:

Note return to page 599 7Discomfort well'd] Shakespear without question wrote Discomfit, i. e. rout, overthrow, from the Latin disconfictus. And that was the case, at the first onset, 'till Macbeth turned the fortune of the day. Warb. Discomfort is right, being the natural opposite to comfort. Well'd, for flowed, is Thirsby's emendation. The common copies have, discomfort swell'd.

Note return to page 600 8As cannons overcharg'd with double cracks, So they redoubled strokes upon the foe:] Mr. Theobald has endeavoured to improve the sense of this passage by altering the punctuation thus: &lblank; they were As cannons overcharg'd, with double cracks So they redoubled strokes &lblank; He declares, with some degree of exultation, that he has no idea of a cannon charged with double cracks; but surely the great authour will not gain much by an alteration which makes him say of a hero, that he redoubles strokes with double cracks, an expression not more loudly to be applauded, or more easily pardoned than that which is rejected in its favour. That a cannon is charged with thunder or with double thunders may be written, not only without nonsense, but with elegance, and nothing else is here meant by cracks, which in the time of this writer was a word of such emphasis and dignity, that in this play he terms the general dissolution of nature the crack of doom. The old copy reads, They doubly redoubled strokes. As cannons overcharg'd with double cracks.] Double is here used for great, and not for two. He uses double in this sense in other places, as in Love's Labour Lost, I understood you not, my griefs are double. See note on the word in Othello, Act I. Scene 4. Warburton.

Note return to page 601 9Or memorize another' Golgotha,] Memorize, for make memorable. Warburton.

Note return to page 602 1So should he look, that seems to speak things strange.] The meaning of this passage, as it now stands, is, so should he look, that looks as if he told things strange. But Rosse neither yet told strange things, nor could look as if he told them; Lenox only conjectured from his air that he had strange things to tell, and therefore undoubtedly said, What haste looks thro' his eyes? So should he look, that teems to speak things strange. He looks like one that is big with something of importance; a metaphor so natural that it is every day used in common discourse. So should he look, that seems to speak things strange.] i. e. that seems as if he would speak. Warburton.

Note return to page 603 2&lblank; flout the sky,] To flout is to dash any thing in another's face. Warburton.

Note return to page 604 3Confronted him with self-comparisons,] The disloyal Cawdor, says Mr. Theobald. Then comes another, and says, a strange forgetfulness in Shakespear, when Macbeth had taken this Thane of Cawdor prisoner, not to know that he was fallen into the King's displeasure for rebellion. But this is only blunder upon blunder. The truth is, by him, in this verse, is meant Norway: as the plain construction of the English requires. And the assistance the Thane of Cawdor had given Norway was underhand; which Ross and Angus, indeed, had discovered; but was unknown to Macbeth. Cawdor being in the court all this while, as appears from Angus's speech to Macbeth, when he meets him to salute him with the title, and insinuates his crime to be lining the rebel with hidden help and 'vantage. Warburton. The second blunderer was the present editor.

Note return to page 605 4&lblank; with self-comparisons,] i. e. gave him as good as he brought, shew'd he was his equal. Warburton.

Note return to page 606 5Aroint thee &lblank;] Aroint, or avaunt, be gone. Pope. Aroint thee, witch! &lblank;] In one of the folio editions the reading is Anoint thee, in a sense very consistent with the common accounts of witches, who are related to perform many supernatural acts by the means of unguents, and particularly to fly through the air to the places where they meet at their hellish festivals. In this sense, anoint thee, witch, will with mean, away, witch, to your infernal assembly. This reading I was inclined to favour, because I had met with the word aroint in no other authour; till looking into Hearne's collections I found it in a very old drawing, that he has published, in which St Patrick is represented visiting hell, and putting the devils into great confusion by his presence, of whom one that is driving the damned before him with a prong, has a label issuing out of his mouth with these words, out out arongt, of which the last is evidently the same with aroint, and used in the same sense as in this passage.

Note return to page 607 6And the very points they blow.] As the word very is here of no other use than to fill up the verse, it is likely that Shakespeare wrote various, which might be easily mistaken for very, being either negligently read, hastily pronounced, or imperfectly heard.

Note return to page 608 7He shall live a man forbid;] i. e. as one under a Curse, an Interdiction. So afterwards in this Play, By his own interdiction stands accurs'd. So among the Romans an Outlaw's Sentence was, Aquæ & Ignis interdictio; i. e. He was forbid the Use of Water and Fire, which imply'd the Necessity of Banishment. Theobald. Mr. Theobald has very justly explained forbid by accursed, but without giving any reason of his interpretation. To bid is originally to pray, as in this Saxon fragment. Þe is wis þ æt bit & bote, &c. He is wise that prays and makes amends. As to forbid therefore implies to prohibit, in opposition to the word bid in its present sense, it signifies by the same kind of opposition to curse, when it is derived from the same word in its primitive meaning.

Note return to page 609 8The weyward sisters, hand in hand,] The Witches are here speaking of themselves: and it is worth an Enquiry why they should stile themselves the weyward, or wayward Sisters. This Word, in its general Acceptation, signifies, perverse, froward, moody, obstinate, untractable, &c. and is every where so used by our Shakespear. To content ourselves with two or three instances. Fy, fy, how wayward is this foolish love, That, like a testy babe, &c. Two Gent. of Verona. This wimpled, whining, purblind, wayward boy. Love's Labour Lost. And which is worst, all you've done is but for a wayward son. It is improbable the Witches would adopt this Epithet to themselves, in any of these Senses, and therefore we are to look a little farther for the Poet's Word and Meaning. When I had the first Suspicion of our Author being corrupt in this Place, it brought to my Mind the following Passage in Chaucer's Troilus and Crésseide, lib. iii. v. 618. But O Fortune, executrice of Wierdes. Which Word the Glossaries expound to us by Fates, or Destinies. I was soon confirmed in my Suspicion, upon happening to dip into Heylin's Cosmography, where he makes a short Recital of the Story of Macbeth and Banquo. These two, says he, travelling together through a Forest, were met by three Fairies, Witches, Wierds. The Scots call them, &c. I presently recollected, that this Story must be recorded at more Length by Hollingshead, with whom, I thought, it was very probable, that our Author had traded for the Materials of his Tragedy, and therefore Confirmation was to be fetched from this Fountain. Accordingly, looking into his History of Scotland, I found the Writer very prolix and express, from Hector Boethius, in this remarkable Story; and, p. 170. speaking of these Witches, he uses this Expression, But afterwards the common Opinion was, That these Women were either the weird Sisters; that is, as ye would say, the Goddesses of Destiny, &c. Again, a little lower; The Words of the three weird Sisters also (of whom before ye have heard) greatly encouraged him thereunto. And in several other Paragraphs there this Word is repeated. I believe, by this Time, it is plain, beyond a Doubt, that the Word wayward has obtained in Macbeth, where the Witches are spoken of, from the Ignorance of the Copyists, who were not acquainted with the Scotch Term; and that in every Passage, where there is any Relation to these Witches or Wizards, my Emendation must be embraced, and we must read weird. Theobald. The weyward sisters, hand in hand,] Mr. Theobald had found out who these weyward sisters were; but observed they were called, in his authentic Holingshead, Weïrd sisters; and so would needs have weyward a corruption of the text, because it signifies perverse, froward, &c. and it is improbable (he says) that the witches should adopt this epithet to themselves. It was hard that when he knew so much, he should not know a little more; that weyward had anciently the very same sense, as weïrd; and was, indeed, the very same word differently spelt; having acquired its later signification from the quality and temper of these imaginary witches. But this is being a critic like him who had discovered that there were two Hercules's; and yet did not know that he had two next-door neighbours of one and the same name. As to these weyward sisters, they were the Fates of the northern nations; the three hand-maids of Odin. Hæ nominantur Valkyriæ, quas quodvis ad Prælium Odinus mittit. Hæ viros morti destinant, & victoriam gubernant. Gunna, & Rota, & Parcarum minima Skullda: per aëra & maria equitant semper ad morituros eligendos; & cædes in potestate habent. Bartholinus de Causis contemptæ à Danis adhuc Gentilibus mortis. It is for this reason that Shakespear makes them three; and calls them, Posters of the sea and land; and intent only upon death and mischief. However, to give this part of his work the more dignity, he intermixes, with this northern, the Greek and Roman superstitions; and puts Hecate at the head of their enchantments. And to make it still more familiar to the common audience (which was always his point) he adds, for another ingredient, a sufficient quantity of our own country superstitions concerning witches; their beards, their cats, and their broomsticks. So that his witchscenes are like the charm they prepare in one of them; where the ingredients are gathered from every thing shocking in the natural world; as here, from every thing absurd in the moral. But as extravagant as all this is, the play has had the power to charm and bewitch every audience from that time to this. Warburton.

Note return to page 610 9That man may question?] Are ye any beings with which man is permitted to hold converse, or of which it is lawful to ask questions?

Note return to page 611 1Are ye fantastical, &lblank;] By fantastical is not meant, according to the common signification, creatures of his own brain: For he could not be so extravagant to ask such a question: but it is used for supernatural, spiritual. Warburton. By fantastical, he means creatures of fantasy or imagination; the question is, Are these real beings before us, or are we deceived by illusions of fancy.

Note return to page 612 2By Sinel's death, &lblank;] The father of Macbeth. Pope.

Note return to page 613 3&lblank; eaten of the insane root,] Mr. Theobald has a long and learned note on these words; and, after much puzzling, he at length proves from Hector Boethius, that this root was a berry. Warburton.

Note return to page 614 4&lblank; As thick as hail,] This is Mr. Pope's correction. The old copy has, &lblank; As thick as tale Can post with post; &lblank; which perhaps is not amiss, meaning that the news came as thick as a tale can travel with the post. Or we may read, perhaps yet better, &lblank; As thick as tale Came post with post; &lblank; That is, posts arrived as fast as they could be counted.

Note return to page 615 5Might yet enkindle you &lblank;] Enkindle, for to stimulate you to seek. Warburton.

Note return to page 616 6This supernatural Solliciting] Solliciting, for information. Warburton. Solliciting is rather, in my opinion, incitement than information.

Note return to page 617 7&lblank; Why do I yield &lblank;] Yield, not for consent, but for to be subdued by. Warburton. To yield is, simply, to give way to.

Note return to page 618 8Whose horrid image doth unfix my hair,] But horror does not unfix the hair, but makes it stand stiff and upright. We should read, upfix. Warb. To unfix is, to put in motion.

Note return to page 619 9&lblank; present fears Are less than horrible Imaginings.] Macbeth, while he is projecting the murder, is thrown into the most agonizing affright at the prospect of it: which soon recovering from, thus he reasons on the nature of his disorder. But Imaginings are so far from being more or less than present fears, that they are the same things under different words. Shakespear certainly wrote, &lblank; present feats Are less than horrible imaginings. i. e. when I come to execute this murder, I shall find it much less dreadful than my frighted imagination now presents it to me. A consideration drawn from the nature of the imagination. Warburton. Present fears are fears of things present, which Macbeth declares, and every man has found, to be less than the imagination presents them while the objects are yet distant. Fears is right.

Note return to page 620 1&lblank; single state of man, &lblank;] The single state of man seems to be used by Shakespeare for an Individual, in Opposition to a commonwealth, or conjunct body.

Note return to page 621 2&lblank; Function Is smother'd in surmise; and nothing is, But what is not.] All powers of action are oppressed and crushed by one overwhelming image in the mind, and nothing is present to me, but that which is really future. Of things now about me I have no perception, being intent wholly on that which has yet no existence.

Note return to page 622 3Time and the hour runs thro' the roughest day.] I suppose every reader is disgusted at the tautology in this passage, Time and the hour, and will therefore willingly believe that Shakespeare wrote it thus,   Come what come may, Time! on!—the hour runs thro' the roughest day. Macbeth is deliberating upon the events which are to befal him, but finding no satisfaction from his own thoughts, he grows impatient of reflection, and resolves to wait the close without harrassing himself with conjectures. Come what come may. But to shorten the pain of suspense, he calls upon time in the usual stile of ardent desire, to quicken his motion, Time! on! &lblank; He then comforts himself with the reflection that all his perplexity must have an end, &lblank; the hour runs through the roughest day. This conjecture is supported by the passage in the letter to his lady, in which he says, they referred me to the coming on of time, with Hail, King that shalt be.

Note return to page 623 3Time and the hour &lblank;] Time is painted with an hour-glass in his hand. This occasioned the expression. Warburton.

Note return to page 624 4&lblank; My dull brain was wrought With things forgot &lblank;] My head was worked, agitated, put into commotion.

Note return to page 625 *&lblank; studied in his death,] Instructed in the art of dying. It was usual to say studied, for learned in science.

Note return to page 626 5To find the mind's construction in the face.] The construction of the mind is, I believe, a phrase peculiar to Shakespeare; it implies the frame of disposition of the mind, by which it is determined to good or ill. To find the mind's construction &lblank;] The metaphor is taken from the construction of a scheme in any of the arts of prediction. Warburton.

Note return to page 627 7Which do but what they should, in doing every thing Safe tow'rds your love and honour.] Of the last line of this speech, which is certainly, as it is now read, unintelligible, an emendation has been attempted, which Dr. Warburton and Mr. Theobald once admitted as the true reading. &lblank; Our duties Are to your throne and state, children and servants, Which do but what they should, in doing every thing Fiefs to your love and honour. My esteem for these critics inclines me to believe that they cannot be much pleased with the expressions fiefs to love, or fiefs to honour, and that they have proposed this alteration rather because no other occurred to them, than because they approved of it. I shall therefore propose a bolder change, perhaps with no better success, but sua cuique placent. I read thus, &lblank; our duties Are to your throne and state, children and servants, Which do but what they should, in doing nothing, Save tow'rd your love and honour. We do but perform our duty when we contract all our views to your service, when we act with no other principle than regard to your love and honour. It is probable that this passage was first corrupted by writing safe for save, and the lines then stood thus: &lblank; doing nothing Safe tow'rd your love and honour. which the next transcriber observing to be wrong, and yet not being able to discover, the real fault, altered to the present reading. Dr. Warburton has since changed fiefs to fief'd, and Hanmer has altered safe to shap'd. I am afraid none of us have hit the right word.

Note return to page 628 8&lblank; by doing every thing Safe tow'rd your love and honour.] This nonsense, made worse by ill pointing, should be read thus, &lblank; by doing every thing. Fief'd tow'rd your life and honour. i. e. their duties being fief'd, or engaged to the support of, as feudal Tenants to their Lord. And it was an artful preparation to aggravate the following murder to make the speaker here confess, that he was engaged the protector of the King's life, as bound by his tenure to preserve it. Warburton.

Note return to page 629 9Let not light see my black and deep desires;] As the Poets make the stars the lamps of Night, and their fires for her use, and not their own, I take it for granted that Shakespear wrote, Let not night see, &c. which mends both the expression and sense. For light cannot well be made a person; but night may: and the verb see relates to personality. The sense is finer, as it implies, in this reading, an unwillingness to trust even Night with his design, tho' she be the common Baud (as our author somewhere calls her) to such kind of secrets. Noctem peccatis, & fraudibus objice nubem. Warburton. This emendation is not at all necessary; for when the present reading gives an easy and commodious sense, it is not to be altered, even though something more elegant might be proposed.

Note return to page 630 1by the perfectest report,] By the best intelligence. Dr. Warburton would read, perfected, and explains report by prediction. Little regard can be paid to an emendation that instead of clearing the sense, makes it more difficult.

Note return to page 631 2&lblank; Thou'dst have, great Glamis, That which cries, thus thou must do, if thou have it; And That, &c.] As the object of Macbeth's desire is here introduced speaking of itself, it is necessary to read, &lblank; Thou'dst have, great Glamis, That which cries, thus thou must do, if thou have me.

Note return to page 632 3Which fate, and metaphysical aid, doth seem To have thee crown'd withal.] For seem, the sense evidently directs us to read seek. The crown to which fate destines thee, and which preternatural agents endeavour to bestow upon thee. The golden Round is the Diadem. Which fate, and metaphysical aid, doth seem To have thee crown'd withal.] Metaphysical for supernatural. But doth seem to have thee crown'd withal, is not sense. To make it so, it should be supplied thus, doth seem desirous to have. But no poetic licence would excuse this. An easy alteration will restore the poet's true reading, &lblank; doth seem To have crown'd thee withal. i. e. they seem already to have crown'd thee, and yet thy disposition at present hinders it from taking effect. Warburton.

Note return to page 633 4&lblank; The raven himself is hoarse, &c.] What sense can be made out of this I do not find Had the expression been, The raven is hoarse with croaking, it might have signified her confidence that Duncan's entrance would be fatal; and her impatience to put the decrees of fate in execution; sentiments agreeable enough to her situation and temper. But had Shakespear meant this, he would have expressed his meaning properly, as he knew so well how to do it. I suppose, therefore, the text to be corrupt, and that we should read, The raven himself's not hoarse. The messenger tells her of one who has just brought the agreeable news of Duncan's coming. Give him tending (says she) he brings great news, i. e. treat him as the bringer of good news deserves. This is so very acceptable, that it would render the most shocking voice harmonious, the most frightful bearer agreeable. A thought expressed in the most sublime imagery conceivable; and best adapted to the confidence of her views. For as the raven was thought a bird of omen, it was the properest to instance in, both as that imagination made its hoarse voice still naturally more odious, and as that was a notice of the designs of fate which she could confide in. But this effect of the dispositions of the mind upon the organs of sense our poet delighted to describe. Thus, in a contrary case, where the chaunting of the lark in Romeo and Juliet brings ill news, he makes the person concerned in it say, 'Tis said the lark and loathed toad chang'd eyes: Oh now I wot they have chang'd voices too. Warb. The reading proposed by the learned commentator is so specious that I am scarcely willing to oppose it; yet I think the present words may stand. The messenger, says the servant, had hardly breath to make up his message; to which the lady answers mentally, that he may well want breath, such a message would add hoarseness to the raven. That even the bird, whose harsh voice is accustomed to predict calamities, could not croak the entrance of Duncan but in a note of unwonted harshness.

Note return to page 634 5&lblank; mortal thoughts, &lblank;] This expression signifies not the thoughts of mortals, but murtherous, deadly, or destructive designs. So in Act 5th, Hold fast the mortal sword. And in another place, With twenty mortal murthers.

Note return to page 635 6&lblank; nor keep peace between Th' effect, and it. &lblank;] The intent of lady Macbeth evidently is to wish that no womanish tenderness, or conscientious remorse, may hinder her purpose from proceeding to effect; but neither this, nor indeed any other sense, is expressed by the present reading, and therefore it cannot be doubted that Shakespeare wrote differently, perhaps thus: That no compunctious visitings of nature Shake my fell purpose, nor keep pace between Th' effect and it. &lblank; To keep pace between may signify to pass between, to intervene. Pace is on many occasions a favourite of Shakespeare. This phrase is indeed not usual in this sense, but was it not its novelty that gave occasion to the present corruption? &lblank; nor keep peace between] Keep peace, for go between simply. The allusion to officers of justice who keep peace between rioters by going between them. Warburton.

Note return to page 636 *&lblank; take my milk for gall.] Take away my milk, and put gall in the place.

Note return to page 637 7You wait on nature's mischief. &lblank;] Nature, for human. Warburton. Nature's mischief is mischief done to nature, violation of nature's order committed by wickedness.

Note return to page 638 8And pall thee &lblank;] i. e. wrap thyself in a pall. Warb.

Note return to page 639 9To cry, hold, hold! &lblank;] On this passage there is a long criticism in the Rambler.

Note return to page 640 1This ignorant present time, &lblank;] Ignorant, for base, poor, ignoble. Warburton. Ignorant has here the signification of unknowing; that is, I feel by anticipation those future honours, of which, according to the process of nature, the present time would be ignorant.

Note return to page 641 2Unto our gentle senses.] How odd a character is this of the air that it could recommend itself to all the senses, not excepting the sight and hearing? Without doubt, we should read, Unto our general sense, meaning the touch or feeling: which not being confined to one part, like the rest of the senses, but extended over the whole body, the poet, by a fine periphrasis, calls the general sense. Therefore by the air's recommending itself nimbly and sweetly, must be understood that it was clear and soft, which properties recreated the fibres, and assisted their vibration. And surely it was a good circumstance in the air of Scotland that it was soft and warm; and this circumstance he would recommend, as appears from the following words, This guest of Summer, The temple-haunting martlet &lblank; General has been corrupted to gentle once again in this very play. See Note, Act 3. Scene 5. Warburton. All this coil is to little purpose. Senses are nothing more than each man's sense, as noses would have been each man's nose. Gentle senses is very elegant, as it means placid, calm, composed, and intimates the peaceable delight of a fine day.

Note return to page 642 3&lblank; martlet, &lblank;] This bird is in the old edition called barlet.

Note return to page 643 4How you should bid god-yeld us &lblank;] To bid any one god-yeld him, i. e. God-yield him, was the same as God reward him. Warburton. I believe yild, or, as it is in the folio of 1623, eyld, is a corrupted contraction of shield. The wish implores not reward but protection.

Note return to page 644 5We rest your Hermits] Hermits, for Beadsmen. Warb.

Note return to page 645 *If it were done, &c.] A man of learning recommends another punctuation. If it were done when, 'tis done then, 'twere well. It were done quickly. If, &c.

Note return to page 646 †With its surcease, success;] I think the reasoning requires that we should read, With its success, surcease. &lblank;

Note return to page 647 6&lblank; Shoal of time,] This is Theobald's emendation, undoubtedly right. The old edition has School, and Dr. Warburton Shelve.

Note return to page 648 7Hath borne his faculties so meek, &lblank;] Faculties, for office, exercise of power, &c. Warburton.

Note return to page 649 8&lblank; or heav'n's cherubin hors'd Upon the sightless couriers of the air,] But the cherubin is the courier; so that he can't be said to be hors'd upon another courier. We must read, therefore, coursers. Warburton. Courier is only runner. Couriers of air are winds, air in motion. Sightless is invisible.

Note return to page 650 9That tears shall drown the wind &lblank;] Alluding to the remission of the wind in a shower.

Note return to page 651 1Scene X.] The arguments by which lady Macbeth persuades her husband to commit the murder, afford a proof of Shakespeare's knowledge of human nature. She urges the excellence and dignity of courage, a glittering idea which has dazzled mankind from age to age, and animated sometimes the housebreaker, and sometimes the conqueror; but this sophism Macbeth has for ever destroyed by distinguishing true from false fortitude, in a line and a half; of which it may almost be said, that they ought to bestow immortality on the author, though all his other productions had been lost. I dare do all that may become a man, Who dares do more, is none. This topic, which has been always employed with too much success, is used in this scene with peculiar propriety, to a soldier by a woman. Courage is the distinguishing virtue of a soldier and the reproach of cowardice cannot be borne by any man from a woman, without great impatience. She then urges the oaths by which he had bound himself to murder Duncan, another art of sophistry by which men have sometimes deluded their consciences, and persuaded themselves that what would be criminal in others is virtuous in them; this argument Shakespeare, whose plan obliged him to make Macbeth yield, has not confuted, though he might easily have shown that a former obligation could not be vacated by a latter: that obligations laid on us by a higher power, could not be overruled by obligations which we lay upon ourselves.

Note return to page 652 2&lblank; Wouldst thou have That, Which thou esteem'st the ornament of life, And live a coward in thine own esteem?] In this there seems to be no reasoning. I should read, Or live a coward in thine own esteem Unless we choose rather, &lblank; Wouldst thou leave That.

Note return to page 653 3Like the poor Cat i'th' adage.] The adage alluded to i, The cat loves fish, but dares not wet her foot, Catus amat Pisces, sed non vult tingere Plantas.

Note return to page 654 4Did then cohere, &lblank;] Cohere, for suit, fit. Warb. It is adhere in the old copy.

Note return to page 655 5Will I with wine and wassel so convince,] To convince is in Shakespeare to overpower or subdue, as in this play, &lblank; Their malady convinces The great assay of art.

Note return to page 656 6A limbeck only. &lblank;] That is, shall be only a vessel to emit fumes or vapours.

Note return to page 657 7&lblank; who shall bear the guilt Of our great quell?] Quell is murder, Manquellers being in the old language the term for which Murderers is now used.

Note return to page 658 8Macbeth's Castle.] The place is not mark'd in the old edition, nor is it easy to say where this encounter can be. It is not in the hall, as the editors have all supposed it, for Banquo sees the sky; it is not far from the bedchamber, as the conversation shews: it must be in the inner court of the castle, which Banquo might properly cross in his way to bed.

Note return to page 659 9If you shall cleave to my consent, when 'tis,] Consent, for will. So that the sense of the line is, If you shall go into my measures when I have determined of them, or when the time comes that I want your assistance. Warburton.

Note return to page 660 1And on thy blade and dudgeon, gouts of blood,] Certainly, if on the blade, then on the dudgeon; for dudgeon signifies a small dagger. We should read therefore, And on the blade of th' dudgeon, &lblank; Warb.

Note return to page 661 2&lblank; gouts of blood,] Or drops, French. Pope.

Note return to page 662 3&lblank; Now o'er one half the world Nature seems dead, &lblank;] That is, over our hemisphere all action and motion seem to have ceased. This image, which is perhaps the most striking that poetry can produce, has been adopted by Dryden in his Conquest of Mexico. All things are bush'd as Nature's self lay dead, The mountains seem to nod their drowsy head; The little birds in dreams their songs repeat, And sleeping flow'rs beneath the night dews sweat. Even lust and envy sleep! These lines, though so well known, I have transcribed, that the contrast between them and this passage of Shakespeare may be more accurately observed. Night is described by two great poets, but one describes a night of quiet, the other of perturbation. In the night of Dryden, all the disturbers of the world are laid asleep; in that of Shakespeare, nothing but sorcery, lust and murder, is awake. He that reads Dryden, finds himself lull'd with serenity, and disposed to solitude and contemplation. He that peruses Shakespeare, looks round alarmed, and starts to find himself alone. One is the night of a lover, the other, of a murderer.

Note return to page 663 4&lblank; wither'd Murder, &lblank; thus with his stealthy pace, With Tarquin's ravishing sides tow'rd his design, Moves like a ghost. &lblank;] This was the reading of this passage in all the editions before that of Mr. Pope, who for sides, inserted in the text strides, which Mr. Theobald has tacitely copied from him, tho' a more proper alteration might perhaps have been made. A ravishing stride is an action of violence, impetuosity, and tumult, like that of a savage rushing on his prey; whereas the poet is here attempting to exhibit an image of secrecy and caution, of anxious circumspection and guilty timidity, the stealthy pace of a ravisher creeping into the chamber of a virgin, and of an assassin approaching the bed of him whom he proposes to murder, without awaking him; these he describes as moving like ghosts, whose progression is so different from strides, that it has been in all ages represented to be, as Milton expresses it, Smooth sliding without step. This hemistick will afford the true reading of this place, which is, I think, to be corrected thus: &lblank; And wither'd Murder, &lblank; thus with his stealthy pace, With Tarquin ravishing, stides tow'rd his design, Moves like a ghost. &lblank; Tarquin is in this place the general name of a ravisher, and the sense is, Now is the time in which every one is a-sleep, but those who are employed in wickedness; the witch who is sacrificing to Hecate, and the ravisher, and the murderer, who, like me, are stealing upon their prey. When the reading is thus adjusted, he wishes with great propriety, in the following lines, that the earth may not hear his steps.

Note return to page 664 5With Tarquin's ravishing strides,] The justness of this similitude is not very obvious. But a stanza, in his poem of Tarquin and Lucrece, will explain it. Now stole upon the time, the dead of night; When heavy sleep had clos'd up mortal eye; No comfortable star did lend his light, No noise but owls and wolves dead-boding cries; Now serves the season that they may surprise The silly lambs. Pure thoughts are dead und still, Whilst lust and murder wake to stain and kill. Warburton.

Note return to page 665 6And take the present horrour from the time, Which now suits with it. &lblank;] i. e. Lest the noise from the stones take away from this midnight season that present horror which suits so well with what is going to be acted in it. What was the horror he means? Silence, than which nothing can be more horrid to the perpetrator of an atrocious design. This shews a great knowledge of human nature. Warburton. Of this passage an alteration was once proposed by me, of which I have now a less favourable opinion, yet will insert it, as it may perhaps give some hint to other criticks. And take the present horrour from the time, Which now suits with it. &lblank;] I believe every one that has attentively read this dreadful soliloquy is disappointed at the conclusion, which, if not wholly unintelligible, is, at least, obscure, nor can be explained into any sense worthy of the author. I shall therefore propose a slight alteration. &lblank; Thou sound and firm-set earth, Hear not my steps, which way they walk, for fear Thy very stones prate of my where-about, And talk—the present horrour of the time! That now suits with it. &lblank; Macbeth has, in the foregoing lines, disturbed his imagination by enumerating all the terrors of the night; at length he is wrought up to a degree of frenzy, that makes him afraid of some supernatural discovery of his design, and calls out to the stones not to betray him, not to declare where he walks, nor to talk.—As he is going to say of what, he discovers the absurdity of his suspicion, and pauses, but is again overwhelmed by his guilt, and concludes, that such are the horrours of the present night, that the stones may be expected to cry out against him. That now suits with it. He observes in a subsequent passage, that on such occasions stones have been known to move. It is now a very just and strong picture of a man about to commit a deliberate murder under the strongest convictions of the wickedness of his design. Whether to take horrour from the time means not rather to catch it as communicated, than to deprive the time of horrour, deserves to be considered.

Note return to page 666 7&lblank; Had he not resembled My father as he slept, I had don't &lblank;] This is very artful. For, as the poet has drawn the lady and husband, it would be thought the act should have been done by her. It is likewise highly just; for tho' ambition had subdued in her all the sentiments of nature towards present objects, yet the likeness of one past, which she had been accustomed to regard with reverence, made her unnatural passions, for a moment, give way to the sentiments of instinct and humanity. Warburton.

Note return to page 667 8&lblank; sleeve of care,] A skein of silk is called a sleeve of silk, as I learned from Mr. Seward, the ingenious editor of Beaumont and Fletcher.6Q0218

Note return to page 668 9The death of each day's life, sore labour's bath, &c.] In this encomium upon sleep, amongst the many appellations which are given it, significant of its beneficence and friendliness to life, we find one which conveys a different idea, and by no means agrees with the rest, which is, The Death of each day's life, &lblank; I make no question but Shakespear wrote, The birth of each day's life, &lblank; The true characteristick of sleep, which repairs the decays of labour, and assists that returning vigour which supplies the next day's activity. The Player-editors seem to have corrupted it for the sake of a silly gingle between life and death. Warburton.

Note return to page 669 1&lblank; gild the faces of the grooms withal, For it must seem their guilt.] Could Shakespeare possibly mean to play upon the similitude of gild and guilt?

Note return to page 670 2To know my deed, 'twere best not know myself.] i. e. While I have the thoughts of this deed it were best not know, or be lost to, myself. This is an answer to the lady's reproof; &lblank; be not lost So poorly in your thoughts. But the Oxford Editor, perceiving neither the sense, nor the pertinency of the answer, alters it to, To unknow my deed, 'twere best not know myself. Warburton.

Note return to page 671 3here's an equivocator,—who committed treason enough for God's sake.] Meaning a Jesuit; an order so troublesome to the State in Queen Elizabeth and King James the First's times. The inventors of the execrable doctrine of equviocation. Warburton.

Note return to page 672 4here's an English taylor come hither for stealing out of a French hose:] The archness of the joke consists in this, that a French hose being very short and strait, a taylor must be master of his trade who could steal any thing from thence. Warburton.

Note return to page 673 5I made a shift to cast him.] To cast him up, to ease my stomach of him. The equivocation is between cast or throw, as a term of wrestling, and cast or cast up.

Note return to page 674 6&lblank; for 'tis my limited service.] Limited, for appointed. Warburton.

Note return to page 675 7&lblank; strange screams of death, And prophecying with accents terrible Of dire combustions, and confus'd events, New hatch'd to the woful time. The obscure bird clamour'd the live-long night. Some say, the earth was fev'rous and did shake.] These lines I think should be rather regulated thus: &lblank; prophecying with accents terrible, Of dire combustions and confus'd events. New-hatch'd to th' woful time, the obscure bird Clamour'd the live-long night. Some say the earth Was fev'rous and did shake. A prophecy of an event new hatch'd, seems to be a prophecy of an event past. The term new-hatch'd is properly applicable to a bird, and that birds of ill omen should be new-hatch'd to the woful time, that is, should appear in uncommon numbers, is very consistent with the rest of the prodigies here mentioned, and with the universal disorder into which nature is described as thrown, by the perpetration of this horrid murder.

Note return to page 676 8And prophecying with accents terrible Of dire combustion, and confus'd events, New hatch'd to th' woeful time:] Here are groans and screams of death heard in the air. Thus far a strong imagination, arm'd with superstition, might go. But accents terrible of dire combustion, that is, prophesying of them, in articulate sounds or words, is a little too far. However, admit this, we are further told, that these prophesies are new hatch'd to th' woeful time; that is, accommodated to the present conjuncture. And this must needs have another author than the air inflamed with meteors. To be short, the case was this; these signs and noises in a troubled heaven set the old women upon earth a prophesying, and explaining those imaginary omens, which brought back to their frighten'd imaginations those predictions in the mouths of the people, foretelling what would happen when such signs appeared. This he finely calls, New hatching them to the woeful time. Intimating that they had been often hatched, or adapted, before to the misfortunes of former times. Shakespear was well acquainted with the nature of popular superstition, and has described it so precisely to the point, in a beautiful stanza of his Venus and Adonis, that that will be the best comment on this passage. Look how the world's poor people are amaz'd At apparitions, signs and prodigies, Whereon with fearful eyes they long have gaz'd, Infusing them with dreadful prophesies. Here he plainly tells us, that signs in the heavens gave birth to prophesies on the earth; and tells us how too: It was by infusing fancies into the crazy imaginations of the people. His language likewise is the same; he uses prophesies, as in the passage in question, to signify forebodings. As this was the effect of superstition only, we may reckon to meet with it in antiquity; of which the English reader may take the following account from Milton. History of England, lib. 2. Of these ensuing troubles many foregoing signs appeared, certain women in a kind of extasy foretold of calamities to come: In the council-house were heard by night barbarous noises; in the theatre, hideous howling; in the creek, horrid sights, &c. By this time I make no doubt but the reader is beforehand with me in conjecturing that Shakespear wrote, Aunts prophesying, &c. i. e. Matrons, old women. So in Midsummer-Night's Dream he says, The wisest aunt telling the saddest tale. Where, we see, he makes them still employed on dismal subjects, fitted to disorder the imagination. Warburton. I believe that no reader will either go before or follow the commentator in this conjecture.

Note return to page 677 9&lblank; this horrour. &lblank;] Here the old editions add, ring the bell, which Theobald rejected, as a direction to the players. He has been followed by Dr. Warburton.

Note return to page 678 1What, in our house? &lblank;] This is very fine. Had she been innocent, nothing but the murder itself, and not any of its aggravating circumstances, would naturally have affected her. As it was, her business was to appear highly disordered at the news. Therefore, like one who has her thoughts about her, she seeks for an aggravating circumstance, that might be supposed most to affect her personally; not considering, that by placing it there, she discovered rather a concern for herself than for the King. On the contrary, her husband, who had repented the act, and was now labouring under the horrors of a recent murder, in his exclamation, gives all the marks of sorrow for the fact itself. Warburton.

Note return to page 679 2In the folio, for Macduff is read dear Duffe.

Note return to page 680 3&lblank; Here, lay Duncan; His silver skin laced with his golden blood, And his gash'd stabs look'd like a breach in nature For Ruin's wasteful entrance; &lblank;] Mr. Pope has endeavoured to improve one of these lines by substituting goary blood for golden blood; but it may easily be admitted that he who could on such an occasion talk of lacing the silver skin, would lace it with golden blood. No amendment can be made to this line, of which every word is equally faulty, but by a general blot. It is not improbable, that Shakespeare put these forced and unnatural metaphors into the mouth of Macbeth as a mark of artifice and dissimulation, to show the difference between the studied language of hypocrisy, and the natural outcries of sudden passion. This whole speech so considered, is a remarkable instance of judgment, as it consists entirely of antithesis and metaphor.

Note return to page 681 4His silver skin laced with his golden blood,] The allusion is so ridiculous on such an occasion, that it discovers the declaimer not to be affected in the manner he would represent himself. The whole speech is an unnatural mixture of far-fetch'd and common-place thoughts, that shews him to be acting a part. Warburton.

Note return to page 682 5Unmannerly breech'd with gore. &lblank;] An unmannerly dagger, and a dagger breech'd, or as in some editions breach'd with gore, are expressions not easily to be understood. There are undoubtedly two faults in this passage, which I have endeavoured to take away by reading, &lblank; daggers Unmanly drench'd with gore: &lblank; I saw drench'd with the King's blood the fatal daggers, not only instruments of murder but evidences of cowardice. Each of these words might easily be confounded with that which I have substituted for it by a hand not exact, a casual blot, or a negligent inspection. Unmannerly breech'd with gore. &lblank;] This nonsensical account of the state in which the daggers were found, must surely be read thus, Unmanly reech'd with gore; &lblank; Reech'd, soiled with a dark yellow, which is the colour of any reechy substance, and must be so of steel stain'd with blood. He uses the word very often, as reechy hangings, reechy neck, &c. So that the sense is, that they were unmanly stain'd with blood, and that circumstance added, because often such stains are most honourable. Warb. Dr. Warburton has perhaps rightly put reech'd for breech'd.

Note return to page 683 6In the great hand of God I stand, and thence, Against the undivulg'd pretence I fight Of treas'nous malice.] Pretence, for act. The sense of the whole is, My innocence places me under the protection of God, and under that shadow, or, from thence, I declare myself an enemy to this, as yet hidden, deed of mischief. This was a very natural speech for him who must needs suspect the true author. Warburton. Pretence is not act, but simulation, a pretence of the traitor, whoever he might be, to suspect some other of the murder. I here fly to the protector of innocence from any charge which, yet undivulg'd, the traitor may pretend to fix upon me.

Note return to page 684 7This murtherous shaft that's shot, Hath not yet lighted; &lblank;] The design to fix the murder upon some innocent person, has not yet taken effect.6Q0219

Note return to page 685 8&lblank; in her pride of place,] Finely expressed, for confidence in its quality. Warburton.

Note return to page 686 9Theobald reads, &lblank; minions of the race, very probably, and very poetically.

Note return to page 687 *What good could they pretend?] To pretend is here to propose to themselves, to set before themselves as a motive of action.

Note return to page 688 1As upon thee, Macbeth, their speeches shine,] Shine, for prosper. Warburton. Shine, for appear with all the lustre of conspicuous truth.

Note return to page 689 2&lblank; as, it is said, Anthony's was by Cæsar. &lblank;] Though I would not often assume the critick's privilege of being confident where certainty cannot be obtained, nor indulge myself too far in departing from the estabished reading; yet I cannot but propose the rejection of this passage, which I believe was an insertion of some player, that having so much learning as to discover to what Shakespeare alluded, was not willing that his audience should be less knowing than himself, and has therefore weakened the author's sense by the intrusion of a remote and useless image into a speech bursting from a man wholly possess'd with his own present condition, and therefore not at leisure to explain his own allusions to himself. If these words are taken away, by which not only the thought but the numbers are injured, the lines of Shakespeare close together without any traces of a breach. My Genius is rebuk'd. He chid the Sisters.

Note return to page 690 3For Banquo's issue have I fil'd my mind;] We should read, &lblank; 'filed my mind: i. e. defiled. Warburton. This mark of contraction is not necessary. To file is in the Bishops Bible.

Note return to page 691 4&lblank; the common enemy of man,] It is always an entertainment to an inquisitive reader, to trace a sentiment to its original source, and therefore though the term enemy of man, applied to the devil, is in itself natural and obvious, yet some may be pleased with being informed, that Shakespeare probably borrowed it from the first lines of the destruction of Troy, a book which he is known to have read. That this remark may not appear too trivial, I shall take occasion from it to point out a beautiful passage of Milton evidently copied from a book of no greater authority, in describing the gates of hell. Book 2. v. 879. he says, &lblank; On a sudden open fly, With impetuous recoil and jarring sound, Th' internal doors, and on their hinges grate Harsh thunder. In the history of Don Bellianis, when one of the knights approaches, as I remember, the castle of Brandezar, the gates are said to open grating harsh thunder upon their brasen hinges.

Note return to page 692 5&lblank; come Fate into the list, And champion me to th' utterance!] This passage will be best explained by translating it into the language from whence the only word of difficulty in it is borrowed. Que la destinée se rende en lice, et qu'elle we doune un defi a l'outrance. A challenge or a combat a l'outrance, to extremity, was a fix'd term in the law of arms, used when the combatants engaged with an odium internecinum, an intention to destroy each other, in opposition to trials of skill at festivals, or on other occasions, where the contest was only for reputation or a prize. The sense therefore is, Let Fate, that has fore-doom'd the exaltation of the sons of Banquo, enter the lists against me, with the utmost animosity, in defence of its own decrees, which I will endeavour to invalidate, whatever be the danger. Rather than so, come Fate into the list, And champion me to th' utterance! &lblank;] This is expressed with great nobleness and sublimity. The metaphor is taken from the ancient combat en champ clos: in which there was a marshal, who presided over, and directed all the punctilios of the ceremonial. Fate is called upon to discharge this office, and champion him to th' utterance; that is, to fight it out to the extremity, which they called combatre à cultrance. But he uses the Scotch word, utterance from oultrance, extremity. Warb. After the former explication, Dr. Warburton was desirous to seem to do something; and he has therefore made fate the marshal, whom I had made the champion, and has left Macbeth to enter the lists without an opponent.

Note return to page 693 6&lblank; are you so gospell'd,] Are you of that degree of precise virtue? Gospeller was a name of contempt given by the Papists to the Lollards, the Puritans of early times, and precursors of Protestantism.

Note return to page 694 7So weary with disasters, tugg'd with fortune,] We see the speaker means to say that he is weary with struggling with adverse fortune. But this reading expresses but half the idea; viz. of a man tugg'd and haled by fortune without making resistance. To give the compleat thought, we should read, So weary with disastrous tuggs with fortune. This is well expressed, and gives the reason of his being weary, because fortune always hitherto got the better. And that Shakespear knew how to express this thought, we have an instance in The Winter's Tale, Let myself and Fortune tugg for the time to come. Besides, to be tugg'd with Fortune, is scarce English. Warb. Tugg'd with fortune may be, tugg'd or worried by fortune.

Note return to page 695 8&lblank; in such bloody distance,] Distance, for enmity. Warb.

Note return to page 696 9Acquaint you with the perfect spy o' th' time,] What is meant by the spy of the time, it will be found difficult to explain; and therefore sense will be cheaply gained by a slight alteration. —Macbeth is assuring the assassins that they shall not want directions to find Banquo, and therefore says, I will &lblank; Acquaint you with a perfect spy o' th' time. Accordingly a third murderer joins them afterwards at the place of action. Perfect is well instructed, or well informed, as in this play, Though in your state of honour I am perfect, though I am well acquainted with your quality and rank. &lblank; the perfect spy o' th' time,] i. e. the critical juncture. Warb. How the critical juncture is the spy o' th' time I know not, but think my own conjecture right.

Note return to page 697 1&lblank; scotch'd. Mr. Theobald.—Vulg. scorch'd.

Note return to page 698 2In restless ecstasie &lblank;] Ecstasie, for madness Warb.

Note return to page 699 3Present him Eminence, &lblank;] i. e. do him the highest honours. Warburton.

Note return to page 700 4&lblank; Nature's copy's not eternal.] The copy, the lease, by which they hold their lives from nature, has its time of termination limited.

Note return to page 701 5The shard-born beetle &lblank;] i. e. The beetle hatched in clefts of wood. So in Anthony and Cleopatra: They are his shards, and he their Beetle. Warb.

Note return to page 702 6&lblank; Come, sealing Night,] Thus the common editions had it; but the old one, seeling, i. e. blinding; which is right. It is a term in Falconry. Warb.

Note return to page 703 7The meaning of this abrupt dialogue is this. The perfect spy, mentioned by Macbeth in the foregoing scene, has, before they enter upon the stage, given them the directions which were promised at the time of their agreement; yet one of the murderers suborned suspects him of intending to betray them; the other observes, that, by his exact knowledge of what they were to do, he appears to be employed by Macbeth, and needs not be mistrusted.

Note return to page 704 8You know your own degrees, sit down: At first and last, the hearty welcome.] As this passage stands, not only the numbers are very imperfect, but the sense, if any can be found, weak and contemptible. The numbers will be improved by reading, &lblank; sit down at first, And last a hearty welcome. But for last should then be written next. I believe the true reading is, You know your own degrees, sit down.—To first And last the hearty welcome. All of whatever degree, from the highest to the lowest, may be assured that their visit is well received.

Note return to page 705 9'Tis better thee without than he within.] The sense requires that this passage should be read thus: 'Tis better thee without, than him within. That is, I am more pleased that the blood of Banquo should be on thy face than in his body. The authour might mean, It is better that Banquo's blood were on thy face, than he in this room. Expressions thus imperfect are common in his works.

Note return to page 706 1&lblank; extend his passion.] Pro'ong his suffering; make his fit longer.

Note return to page 707 *O proper stuff!] This speech is rather too long for the circumstances in which it is spoken. It had begun better at, Shame itself!

Note return to page 708 2&lblank; Oh, these flaws and starts, Impostors to true fear, would well become A woman's story at a winter's fire, Authoriz'd by her grandam. &lblank;] Flaws are sudden gusts. The authour perhaps wrote, &lblank; Those flaws and starts, Impostures true to fear would well become; A woman's story, &lblank; These symptoms of terror and amazement might better become impostures true only to fear, might become a coward at the recital of such falsehoods as no man could credit, whose understanding was not weaken'd by his terrors; tales told by a woman over a fire on the authority of her grandam. &lblank; Oh, these flaws and starts, Impostors to true fear,] i. e. these flaws and starts, as they are indications of your needless fears, are the imitators or impostors only of those which arise from a fear well grounded. Warb.

Note return to page 709 3Ere human Statute purg'd the gentle weal;] Thus all the editions: I have reform'd the text, gen'ral weal: And it is a very fine Periphrasis to signify, ere civil Societies were instituted. For the early murders recorded in Scripture, are here alluded to: and Macbeth's apologizing for murder from the antiquity of the example is very natural. The term he uses again in Timon, &lblank; that his particular to forefend Smells from the gen'ral weal. Warburton. The gentle weal, is, the peaceable community, the state made quiet and safe by human statutes. Mollia securæ per agebant otia gentes.

Note return to page 710 4And all to all.] i. e. all good wishes to all: such as he had named above, love, health and joy. Warburton. I once thought it should be hail to all, but I know think that the present reading is right.

Note return to page 711 5If trembling I inhabit,] This is the original reading, which Mr. Pope changed to inhibit, which inhibit Dr. Warburton interprets refuse. The old reading may stand, at least as well as the emendation. Suppose we read, If trembling I evade it.

Note return to page 712 6Macb. Can such things be, And overcome us, like a summer's cloud, Without our special wonder?] Why not? if they be only like a summer's cloud? The speech is given wrong; it is part of the Lady's foregoing speech; and, besides that, is a little corrupt. We should read it thus, &lblank; Can't such things be, And overcome us like a summer's cloud, Without our special wonder? i. e. cannot these visions, without so much wonder and amazement, be presented to the disturbed imagination in the manner that air-visions, in summer-clouds, are presented to a wanton one: which sometimes shew a lion, a castle, or a promontory? The thought is fine, and in character. Overcome is used for deceive. Warburton. The alteration is introduced by a misinterpretation. The meaning is not that these things are like a summer-cloud, but can such wonders as these pass over us without wonder, as a casual summer-cloud passes over us.

Note return to page 713 7You make me strange Ev'n to the disposition that I owe,] Which in plain English is only, You make me just mad. Warburton. You produce in me an alienation of mind, which is probably the expression which our authour intended to paraphrase.

Note return to page 714 8Augurs, that understand relations. &lblank;] By the word relation is understood the connection of effects with causes; to understand relations as an Augur, is to know how those things relate to each other, which have no visible combination or dependance. Augurs, that understand relations, &lblank;] By relations is meant the relation one thing is supposed to bear to another. The ancient soothsayers of all denominations practised their art upon the principle of Analogy. Which analogies were founded in a superstitious philosophy arising out of the nature of ancient idolatry; which would require a volume to explain. If Shakespear meant what I suppose he did by relations, this shews a very profound knowledge of antiquity. But, after all, in his licentious way, by relations, he might only mean languages, i. e. the languages of birds. Warburton.

Note return to page 715 9Thane. Mr. Theobald. &lblank; Vulg. one.

Note return to page 716 1You lack the season of all natures, Sleep.] I take the meaning to be, you want sleep, which seasons, or gives the relish to all nature. Indices somni vitæ condimenti.6Q0220

Note return to page 717 2The editions before Theobald read, we're yet but young indeed.

Note return to page 718 *&lblank; vap'rous drop, profound;] That is, a drop that has profound, deep, or hidden qualities.

Note return to page 719 †&lblank; slights,] Arts; subtle practices.

Note return to page 720 3Enter Lenox, and another Lord.] As this tragedy, like the rest of Shakespeare's, is perhaps overstocked with personages, it is not easy to assign a reason, why a nameless character should be introduced here, since nothing is said that might not with equal propriety have been put into the mouth of any other disaffected man. I believe therefore that in the original copy it was written with a very common form of contraction Lenox and An. for which the transcriber, instead of Lenox and Angus, set down Lenox and another Lord. The author had indeed been more indebted to the transcriber's fidelity and diligence had the committed no errors of greater importance.

Note return to page 721 4The common editions have sons. Theobald corrected it.

Note return to page 722 5&lblank; and receive free honours,] Free, for grateful. Warb. How can free be grateful? It may be either honours freely bestowed, not purchased by crimes, or honours without slavery, without dread of a tyrant.

Note return to page 723 6SCENE I.] As this is the chief scene of inchantment in the play, it is proper in this place to observe, with how much judgment Shakespeare has selected all the Circumstances of his infernal ceremonies, and how exactly he has conformed to common opinions and traditions. Thrice the brinded cat hath mew'd. The usual form in which familiar spirits are reported to converse with witches, is that of a cat. A witch, who was tried about half a century before the time of Shakespeare, had a cat named Rutterkin, as the spirit of one of those witches was Grimalkin; and when any mischief was to be done she used to bid Rutterkin go and fly, but once when she would have sent Rutterkin to torment a daughter of the countess of Rutland, instead of going or flying, he only cried mew, from whence she discovered that the lady was out of his power, the power of witches being not universal, but limited, as Shakespeare has taken care to inculcate. Though his bark cannot be lost, Yet it shall be tempest test. The common afflictions which the malice of witches produced were melancholy, fits, and loss of flesh, which are threatned by one of Shakespeare's witches. Weary sev'n-nights, nine times nine, Shall he dwindle, peak and pine. It was likewise their practice to destroy the cattle of their neighbours, and the farmers have to this day many ceremonies to secure their cows and other cattle from witchcraft; but they seem to have been most suspected of malice against swine. Shakespeare has accordingly made one of his witches declare that she has been killing swine, and Dr. Harsenet observes, that about that time, a sow could not be ill of the measles, nor a girl of the sullens, but some old woman was charged with witchcraft. Toad, that under the cold stone, Days and nights has, thirty-one, Swelter'd venom sleeping got; Boil thou first i'th' charmed pot. Toads have likewise long lain under the reproach of being by some means accessary to witchcraft, for which reason Shakespeare, in the first scene of this play, calls one of the spirits Padocke or Toad, and now takes care to put a toad first into the pot. When Vaninus was seized at Tholouse, there was found at his lodgings ingens Bufo Vitro inclusus, a great Toad shut in a Vial, upon which those that prosecuted him Veneficium ex probrabant, charged him, I suppose, with witchcraft. Fillet of a fenny snake, In the cauldron boil and bake; Eye of newt, and toe of frog; &lblank; For a charm, &c. The propriety of these ingredients may be known by consulting the books de Viribus Animalium and de Mirabilibus Mundi, ascribed to Albertus Magnus, in which the reader, who has time and credulity, may discover very wonderful secrets. Finger of birth-strangled babe, Ditch-deliver'd by a drab; &lblank; It has been already mentioned in the law against witches, that they are supposed to take up dead bodies to use in enchantments, which was confessed by the woman whom King James examined, and who had of a dead body that was divided in one of their assemblies, two fingers for her share. It is observable that Shakespeare, on this great occasion, which involves the fate of a king, multiplies all the circumstances of horror. The babe, whose finger is used, must be strangled in its birth; the grease must not only be human, but must have dropped from a gibbet, the gibbet of a murderer; and even the sow, whose blood is used, must have offended nature by devouring her own farrow. These are touches of judgment and genius. And now about the cauldron   sing &lblank; Black spirits and white,   Blue spirits and grey, Mingle, mingle, mingle,   You that mingle may. And in a former part, &lblank; weyward sisters, hand in hand, &lblank; Thus do go about, about, Thrice to thine, and thrice to mine, And thrice again to make up nine! These two passages I have brought together, because they both seem subject to the objection of too much levity for the solemnity of enchantment, and may both be shown, by one quotation from Camden's account of Ireland, to be founded upon a practice realy observed by the uncivilised natives of that country. “When any one gets a fall, says the informer of Camden, he starts up, and turning three times to the right digs a hole in the earth; for they imagine that there is a spirit in the ground, and if he falls sick in two or three days, they send one of their women that is skilled in that way to the place, where she says, I call thee from the east, west, north and south, from the groves, the woods, the rivers, and the fens, from the fairies red, black, white.” There was likewise a book written before the time of Shakespeare, describing, amongst other properties, the colours of spirits. Many other circumstances might be particularised, in which Shakespeare has shown his judgment and his knowledge.

Note return to page 724 7Thrice the brinded cat hath mew'd.] A cat, from time immemorial, has been the agent and favourite of witches. This superstitious fancy is pagan, and very ancient; and the original, perhaps, this. When Galinthia was changed into a cat by the Fates, (says Antonius Liberalis, Metam. Cap. 29.) by Witches, (says Pausanias in his Bœotics) Hecate took pity of her, and made her her priestess; in which office she continues to this day. Hecate, herself too, when Typhon forced all the Gods and Goddesses to hide themselves in animals, assumed the shape of a cat. So Ovid, Fele soror Phœbi latuit. Warburton.

Note return to page 725 8&lblank; yesty waves] That is, foaming or frothy waves.

Note return to page 726 9Of Nature's Germins &lblank;] This was subtituted by Theobald for Nature's German.

Note return to page 727 1&lblank; the round And top of Sovereignty?] Th's round is that part of the crown that encircles the head. The top is the ornament that rises above it.

Note return to page 728 2Rebellious dead rise never, &lblank;] We should read, Rebellious head &lblank; i. e. Let rebellion never get to a head and be successful till &lblank; and then &lblank; Warburton. Mr. Theobald, who first proposed this change, rightly observes, that head means host, or power. &lblank; Douglas and the rebels met, A mighty and a fearful head they are. And again, His divisions &lblank; are in three heads.

Note return to page 729 3Thy crown does sear mine eye-balls. &lblank;] The expression of Macbeth, that the crown sears his eye-balls, is taken from the method formerly practised of destroying the sight of captives or competitors, by holding a burning bason before the eye, which dried up its humidity. Whence the Italian, abacinare, to blind.

Note return to page 730 4In former editions: &lblank; and thy hair, Thou other gold-bound brow, is like the first &lblank; A third is like the former &lblank;] As Macbeth expected to see a train of kings, and was only enquiring from what race they would proceed, he could not be surprised that the hair of the second was bound with gold like that of the first; he was offended only that the second resembled the first, as the first resembled Banquo, and therefore said, &lblank; and thy air, Thou other gold-bound brow, is like the first. This Dr. Warburton has followed.

Note return to page 731 5That twofold balls and treble scepters carry.] This was intended as a compliment to King James the first, who first united the two islands and the three kingdoms under one head; whose house too was said to be descended from Banquo. Warb.

Note return to page 732 6&lblank; the blood-bolter'd Banquo] Gildon has ridiculously interpreted blood-bolter'd, in a thing he calls a Glossary, to signify smear'd with dry blood; he might as well have said with extreme unction. Blood bolter'd means one whose blood hath issued out at many wounds, as flour of corn passes thro' the holes of a sieve. Shakespear used it to insinuate the barbarity of Banquo's murderers, who covered him with wounds. Warburton.

Note return to page 733 7Time, thou anticipat'st my dread exploits.] To anticipate is here to prevent, by taking away the opportunity.

Note return to page 734 8&lblank; nat'ral touch; &lblank;] Natural sensibility. He is not touched with natural affection.

Note return to page 735 9&lblank; when we are traitors, And do not know ourselves: &lblank;] i. e. We think ourselves innocent, the government thinks us traitors; therefore we are ignorant of ourselves. This is the ironical argument. The Oxford Editor alters it to, And do not know't ourselves: &lblank; But sure they did know what they said, that the State esteemed them traitors. Warburton.

Note return to page 736 1&lblank; when we hold rumour From what we fear &lblank;] To hold rumour, signifies to be governed by the authority of rumour. Warburton.

Note return to page 737 2To do worse to you were fell cruelty,] Who can doubt it? But this is not what he would say. A stranger, of ordinary condition, accosts a woman of quality without ceremony; and tells her abruptly, that her life and her childrens lives are in imminent danger. But seeing the effect this had upon her, he adds, as we should read it, To fright you thus, methinks, I am too savage; To do worship to you were fell cruelty: That is, but at this juncture to waste my time in the gradual observances due to your rank, would be the exposing your life to immediate destruction. To do worship signified, in the phrase of that time, to pay observance. Warburton. To do worse is, to let her and her children be destroyed without warning.

Note return to page 738 3In former editions: Let us rather Hold fast the mortal sword; and, like good men, Bestride our downfal birthdoom: &lblank;] He who can discover what is meant by him that earnestly exhorts him to bestride his downfall birth-doom, is at liberty to adhere to the present text; but it is probable that Shakespeare wrote, &lblank; like good men, Bestride our downfaln birthdom &lblank; The allusion is to a man from whom something valuable is about to be taken by violence, and who, that he may defend it without incumbrance, lays it on the ground, and stands over it with his weapon in his hand. Our birthdom, or birthright, says he, lies on the ground, let us, like men who are to fight for what is dearest to them, not abandon it, but stand over it, and defend it. This is a strong picture of obstinate resolution. So Falstaff says to Hal. When I am down, if thou wilt bestride me, so. Birthdom for birth-right is formed by the same analogy with masterdom in this play, signifying the privileges or rights of a master. Perhaps it might be birth-dame for mother; let us stand over our mother that lies bleeding on the ground.

Note return to page 739 4Bestride our downfaln birthdom: &lblank;] To protect it from utter destruction. The allusion is to the Hyperaspists of the ancients, who bestrode their fellows faln in battle, and covered them with their shields. Warburton.

Note return to page 740 5&lblank; and yell'd out Like syllables of dolour.] This presents a ridiculous image. But what is insinuated under it is noble; that the portents and prodigies in the skies, of which mention is made before, shewed that Heaven sympathised with Scotland. Warburton.

Note return to page 741 6You may discern of him through me, &lblank;] By Macduff's answer it appears we should read, &lblank; deserve of him &lblank; Warburton.

Note return to page 742 7A good and virtuous nature may recoil In an imperial Charge. &lblank;] A good mind may recede from goodness in the execution of a royal commission.

Note return to page 743 8Though all things foul, &c.] This not very clear. The meaning perhaps is this: My suspicions cannot injure you, if you be virtuous, by supposing that a traitor may put on your virtuous appearance. I do not say that your virtuous appearance proves you a traitor; for virtue must wear its proper form, though that form be often counterfeited by villany.

Note return to page 744 9Why in that rawness &lblank;] Without previous provision, without due preparation, without maturity of counsel.

Note return to page 745 *Wear thou thy wrongs &lblank;] That is, Poor Country, wear thou thy wrongs.

Note return to page 746 1His title is affear'd. &lblank;] Affear'd, a law term for confirmed. Pope.

Note return to page 747 2It is myself I mean, in whom I know] This conference of Malcolm with Macduff is taken out of the chronicles of Scotland. Pope.

Note return to page 748 3Sudden, malicious, &lblank;] Sudden, for capricious. Warb. Rather violent, passionate, hasty.

Note return to page 749 4&lblank; grows with more pernicious root Than summer-seeming lust; &lblank;] Summer-seeming has no manner of sense: correct, Than summer-teeming lust; &lblank; i. e. The passion, which lasts no longer than the heat of life, and which goes off in the winter of age. Warburton.

Note return to page 750 5&lblank; foysons, &lblank;] Plenty. Pope.

Note return to page 751 6All ready at A point, &lblank;] At a point, may mean all ready at a time; but Shakespear meant more: He meant both time and place, and certainly wrote, All ready at appoint, &lblank; i. e. At the place appointed, at the rendezvous. Warburton. There is no need of change.

Note return to page 752 7&lblank; and the chance of goodness Be like our warranted quarrel!] The chance of goodness, as it is commonly read, conveys no sense. If there be not some more important errour in the passage, it should at least be pointed thus: &lblank; and the chance, of goodness, Be like our warranted quarrel! &lblank; That is, may the event be, of the goodness of heaven, [pro justitia divina] answerable to the cause. But I am inclined to believe that Shakespeare wrote, &lblank; and the chance, O goodness, Be like our warranted quarrel! &lblank; This some of his transcribers wrote with a small o, which another imagined to a mean of. If we adopt this reading, the sense will be, and O thou sovereign Goodness, to whom we now appeal, may our fortune answer to our cause.

Note return to page 753 8&lblank; and 'tis spoken, To the succeeding Royalty he leaves The healing Benediction &lblank;] It must be own'd, that Shakespeare is often guilty of strange absurdities in point of history and chronology. Yet here he has artfully avoided one. He had a mind to hint that the cure of the Evil was to descend to the successors in the royal line in compliment to James the first. But the Confessor was the first who pretended to this gift: How then could it be at that time generally spoken of that the gift was hereditary? this he has solved by telling us that Edward had the gift of prophecy along with it. Warburton.

Note return to page 754 9A modern ecstasie &lblank;] That is, no more regarded than the contorsions that Fanatics throw themselves into. The author was thinking of those of his own times. Warburton. I believe modern is only foolish or trifling.

Note return to page 755 *&lblank; fee-grief,] A peculiar sorrow; a grief that hath a single owner. The expression is, at least to our ears, very harsh.

Note return to page 756 1He has no children. &lblank;] It has been observed by an anonymous critick, that this is not said of Macbeth, who had children, but of Malcolm, who having none, supposes a father can be so easily comforted.

Note return to page 757 2My mind she'as mated, &lblank;] Conquer'd or subdued. Pope. Rather astonished, confounded.

Note return to page 758 3Excite the mortified man.] Mr. Theobald will needs explain this expression. It means (says he) the man who has abandoned himself to despair, who has no spirit or resolution left. And to support this sense of mortified man, he quotes mortified spirit in another place. But if this was the meaning, Shakespear had not wrote the mortified man, but a mortified man. In a word, by the mortified man, is meant a Religious; one who has subdued his passions, is dead to the world, has abandoned it, and all the affairs of it: an Ascetic. Warburton.

Note return to page 759 *When all that is within him does condemn Itself, for being there?] That is, when all the faculties of the mind are employed in self-condemnation.

Note return to page 760 4Bring me no more Reports, &c.] Tell me not any more of desertions— Let all my subjects leave me—I am safe till, &c.

Note return to page 761 5&lblank; English Epicures.] The reproach of epicurism, on which Mr. Theobald has bestowed a note, is nothing more than a natural invective uttered by an inhabitant of a barren country, against those who have more opportunities of luxury.

Note return to page 762 6&lblank; those linnen cheeks of thine Are Counsellors to fear.] The meaning is, they infect others who see them with cowardice. Warburton.

Note return to page 763 7&lblank; my way of life Is fall'n into the Sear. &lblank;] As there is no relation between the way of life, and fallen into the sear, I am inclined to think that the W is only an M inverted, and that it was originally written, &lblank; my May of life. I am now passed from the spring to the autumn of my days, but I am without those comforts that should succeed the spriteliness of bloom, and support me in this melancholy season. The authour has May in the same sense elsewhere. &lblank; my way of life Is fall'n into the Sear. &lblank;] An Anonymus would have it, &lblank; my May of life: But he did not consider that Macbeth is not here speaking of his rule or government, or of any sudden change; but of the gradual decline of life, as appears from this line, And that; which should accompany old age. And way is used for course, progress. Warburton.6Q0222

Note return to page 764 8&lblank; but the confident tyrant] The editors have here spoil'd the measure in order to give a tyrant an epithet that does not belong to him; (namely confidence, or reposing himself securely in any thing or person) while they rejected the true one, expressive of a tyrant's jealousy and suspicion, and declarative of the fact. We must surely read, &lblank; the confin'd tyrant. Warburton. He was confident of success; so confident that he would not fly, but endure their setting down before his castle.

Note return to page 765 9For where there is advantage to be given, Both more and less have given him the Revolt;] The impropriety of the expression advantage to be given, instead of advantage given, and the disagreeable repetition of the word given in the next line, incline me to read, &lblank; where there is a 'vantage to be gone, Both more and less have given him the Revolt. Advantage or 'vantage, in the time of Shakespeare, signified opportunity. He shut up himself and his soldiers, says Malcolm, in the castle, because when there is an opportunity to be gone they all desert him. More and less is the same with greater and less. So in the interpolated Mandeville, a book of that age, there is a chapter of India the more and the less.

Note return to page 766 1What we shall say we have, and what we owe:] i. e. property and allegiance. Warburton.

Note return to page 767 2Arbitrate is determine.

Note return to page 768 3&lblank; fell of hair] My hairy part, my capil itium. Fell is skin.

Note return to page 769 4&lblank; I have supt full with horrors:] The Oxford Editor alters this to, &lblank; surfeited with horrors; And so, for the sake of a politer phrase, has made the speaker talk absurdly. For the thing we surfeit of, we behold with uneasiness and abhorrence. But the speaker says, the things he supt full of, were grown familiar to him, and he viewed them without emotion. Warburton.

Note return to page 770 5She should have dy'd hereafter; There would have been a time for such a word.] This passage has very justly been suspected of being corrupt. It is not apparent for what word there would have been a time, and that there would or would not be a time for any word seems not a consideration of importance sufficient to transport Macbeth into the following exclamation. I read therefore, She should have dy'd hereafter. There would have been a time for—such a world! &lblank; To morrow, &c. It is a broken speech, in which only part of the thought is expressed, and may be paraphrased thus: The Queen is dead. Macbeth. Her death should have been deferred to some more peaceful hour; had she lived longer, there would at length have been a time for the honours due to her as a Queen, and that respect which I owe her for her fidelity and love. Such is the world—such is the condition of human life, that we always think to-morrow will be happier than to-day, but to-morrow and to-morrow steals over us unenjoyed and unregarded, and we still linger in the same expectation to the moment appointed for our end. All these days, which have thus passed away, have sent multitudes of fools to the grave, who were engrossed by the same dream of future felicity, and, when life was departing from them, were like me reckoning on to-morrow. Such was once my conjecture, but I am now less confident. Macbeth might mean, that there would have been a more convenient time for such a word, for such intelligence, and so fall into the following reflection. We say we send word when we give intelligence.

Note return to page 771 6To the last syllable of recorded time;] Recorded time seems to signify the time fixed in the decrees of heaven for the period of life. The record of futurity is indeed no accurate expression, but as we only know transactions past or present, the language of men affords no term for the volumes of prescience, in which future events may be supposed to be written.

Note return to page 772 7The way to dusty death. &lblank;] We should read dusky, as appears from the figurative term lighted. The Oxford Editor has condescended to approve of it. Warburton. Dusty is a very natural epithet. The second folio has, The way to study death. &lblank; which Mr. Upton prefers, but it is only an errour by an accidental transposition of the types.

Note return to page 773 8I pull in Resolution, and begin To doubt the equivocation of the fiend, That lies like truth &lblank;] Though this is the reading of all the editions, yet as it is a phrase without either example, elegance or propriety, it is surely better to read, I pall in Resolution, &lblank; I languish in my constancy, my confidence begins to forsake me. It is scarcely necessary to observe how easily pall might be changed into pull by a negligent writer, or mistaken for it by an unskilful printer.6Q0223

Note return to page 774 9&lblank; intrenchant air] That is, air which cannot be cut.

Note return to page 775 *Palter with us] That shuffle with ambiguous expressions.

Note return to page 776 1Had I as many sons as I have hairs, I would not wish them to a fairer death. And so his knell is knoll'd.] This incident is thus related from Henry of Huntingdon by Camden in his Remains, from which our authour probably copied it. When Seyward, the martial earl of Northumberland, understood that his son, whom he had sent in service against the Scotchmen, was slain, he demanded whether his wounds were in the fore part or hinder part of his body. When it was answered, in the fore part, he replied, “I am right glad; neither wish I any other death to me or mine.”

Note return to page 777 This play is deservedly celebrated for the propriety of its fictions, and solemnity, grandeur, and variety of its action; but it has no nice discriminations of character, the events are too great to admit the influence of particular dispositions, and the course of the action necessarily determines the conduct of the agents. The danger of ambition is well described; and I know not whether it may not be said in defence of some parts which now seem improbable, that, in Shakespeare's time, it was necessary to warn credulity against vain and illusive predictions. The passions are directed to their true end. Lady Macbeth is merely detested; and though the courage of Macbeth preserves some esteem, yet every reader rejoices at his fall.

Note return to page 778 The whole history exactly followed, and many of the principal speeches exactly copied from the life of Coriolanus in Plutarch. Pope. Of this play there is no edition before that of the players, in folio, in 1623.

Note return to page 779 1but they think, we are too dear:] They think that the charge of maintaining us is more than we are worth.

Note return to page 780 2Let us revenge this with our Pikes, ere we become Rakes;] It was Shakespear's design to make this fellow quibble all the way. But time, who has done greater things, has here stifled a miserable joke; which was then the same as if it had been now wrote, Let us revenge this with forks ere we become rakes: For Pikes then signified the same as Forks does now. So Jewel in his own translation of his Apology, turns Christianos ad furcas condemnare, to,—To condemn Christians to the pikes. But the Oxford Editor, without knowing any thing of this, has with great sagacity found out the joke, and reads on his own authority, Pitch forks. Warburton.

Note return to page 781 3ere we become Rakes;] It is plain that, in our authour's time, we had the proverb, as lean as a Rake. Of this proverb the original is obscure. Rake now signifies a dissolute man, a man worn out with disease and debauchery. But this signification is, I think, much more modern than the proverb. Rœkel, in Islundick, is said to mean a cur-dog, and this was probably the first use among us of the word Rake; as lean as a Rake is, therefore, as lean as a dog too worthless to be fed.

Note return to page 782 4&lblank;I will venture To scale't a little more.] Thus all the editions, as Mr. Theobald confesses, who alters it to stale't. And for a good reason, because he can find no sense (he says) in the common reading. For as good a reason, I, who can, have restored the old one to its place. To scale't signifying to weigh, examine and apply it. The author uses it again, in the same sense, in this very play, Scaling his present bearing with his past. And so Fletcher in The Maid in the Mill, What scale my invention before hand? you shall pardon me for that. Warburton. Neither of Dr. Warburton's examples afford a sense congruous to the present occasion. In the passage quoted, to scale may be to weigh and compare, but where do we find that to scale is to apply? If we scale the two criticks, I think Theobald has the advantage.

Note return to page 783 5Disgraces are hardships, injuries.

Note return to page 784 6Where for whereas.

Note return to page 785 7Which ne'er came from the lungs, &lblank;] With a smile not indicating pleasure but contempt.

Note return to page 786 8&lblank; even so most fitly,] i. e. exactly. Warburton.

Note return to page 787 9The counsellor heart, &lblank;] The heart was anciently esteemed the seat of prudence. Homo cordatus is a prudent man.

Note return to page 788 1Thou rascal, that art worst in blood to run, Lead'st first, to win some 'vantage. &lblank;] I think we may better read, by an easy change, Thou rascal that art worst, in blood, to ruin Lead'st first, to win, &c. Thou that art the meanest by birth, art the foremost to lead thy fellows to ruin, in hope of some advantage.

Note return to page 789 2That like nor peace, nor war? The one affrights you, The other makes you proud. &lblank;] That they did not like war is evident from the reason assigned, of its frighting them; but why they should not like peace (and the reason of that too is assigned) will be very hard to conceive. Peace, he says, made them proud, by bringing with it an increase of wealth and power, for those are what make a people proud; but then those are what they like but too well, and so must needs like peace the parent of them. This being contrary to what the text says, we may be assured it is corrupt, and that Shakespear wrote, That likes not peace, nor war? &lblank; i. e. Whom neither peace nor war fits or agrees with, as making them either proud or cowardly. By this reading, peace and war, from being the accusatives to likes, become the nominatives. But the editors not understanding this construction, and seeing likes a verb singular, to Curs a noun plural, which they suppos'd the nominative to it, would, in order to shew their skill in grammar, alter it to like; but likes for pleases was common with the writers of this time. So Fletcher's Maid's Tragedy; What look likes you best? War. That to like is to please, every one knows, but in that sense it is as hard to say why peace should not like the people, as, in the other sense, why the people should not like peace. The truth is, that Coriolanus does not use the two sentences consequentially, but first reproaches them with unsteadiness, then with their other occasional vices.

Note return to page 790 3&lblank; I'd make a quarry With thousands &lblank;] Why a quarry? I suppose, not because he would pile them square, but because he would give them for carrion to the birds of prey.

Note return to page 791 4&lblank; the heart of Generosity,] To give the final blow to the nobles. Generosity is high birth.

Note return to page 792 5&lblank; 'tis true, that you have lately told us. The Volscians are in arms.] Coriolanus had been but just told himself that the Volscians were in arms. The meaning is, The intelligence which you gave us some little time ago of the designs of the Volscians is now verified; they are in arms.

Note return to page 793 6Your valour puts well forth;] That is, You have in this mutiny shewn fair blossoms of valour.

Note return to page 794 *&lblank; to gird &lblank;] To sneer; to gibe. So Falstaff uses the noun, when he says, every man has a gird at me.

Note return to page 795 7The present Wars devour him; he is grown Too proud to be so valiant] Mr. Theobald says This is obscurely expressed, but that the poet's meaning must certainly be this, that Marcius is so conscious of and sso elate upon the notion of his own valour that he is eaten up with pride &c. According to this critick then, we must conclude that when Shakespear had a mind to say, A man was eaten up with pride. he was so great a blunderer in expression as to say. He was eaten up with war. But our poet wrote at another rate, and the blunder is his critick's The present wars devour him, is an imprecation, and should be so pointed. As much as to say, May he fall in these wars! The reason of the curse is subjoined, for (says the speaker) having so much pride with so much valour, his life, with increase of honours, is dangerous to the Republick. But the Oxford Editor alters it to, Too proud of being so valiant. And by that means takes away the reason the speaker gives for his cursing. Warburton.

Note return to page 796 *More than his singularity, &c.] We will learn what he is to do, besides going himself, what are his powers, and what is his appointment.

Note return to page 797 8&lblank; for the remove Bring up your Army: &lblank;] The first part of this sentence is without meaning. The General had told the Senators that the Romans had prest a power, which was on foot. To which the words in question are the answer of a senator. And, to make them pertinent, we should read them thus, &lblank; 'fore they remove Bring up your Army: &lblank; i. e. Before that power, already on foot, be in motion, bring up your army; then he corrects himself, and says, but I believe you will find your intelligence groundless, the Romans are not yet prepared for us. Warburton. I do not see the nonsense or impropriety of the old reading. Says the senator to Aufidius, Go to your troops, we will garrison Corioli. If the Romans besiege us, bring up your army to remove them. If any change should be made, I would read, &lblank; for their remove.

Note return to page 798 9brows bound with Oak.] The crown given by the Romans to him that saved the life of a citizen, which was accounted more honourable than any other.

Note return to page 799 1&lblank; nor a man that fears you less than he, That's lesser than a little. &lblank;] The sense requires it to be read, &lblank; nor a man that fears you more than he. Or more probably, &lblank; nor a man but fears you less than he. That's lesser than a little.

Note return to page 800 2Who, sensible, out-dares &lblank;] The old editions read, Who sensibly out-dares &lblank; Thirlby reads, Who, sensible, out-does his senseless sword. He is followed by the later editors, but I have taken only half his correction.

Note return to page 801 3In the old editions it was, &lblank; Calvus' wish,] Plutarch, in the Life of Coriolanus, relates this as the opinion of Cato the Elder, that a great soldier should carry terrour in his looks and tone of voice; and the poet, hereby following the historian, is fallen into a great chronological impropriety. Theobald.

Note return to page 802 4&lblank; make remain &lblank;] Is an old manner of speaking, which means no more than remain. Hanmer.

Note return to page 803 5&lblank; prize their honours] In the first edition it is, &lblank; prize their hours. I know not who corrected it. A modern editor, who had made such an improvement, would have spent half a page in ostentation of his sagacity.

Note return to page 804 6&lblank; The Roman Gods, &c. That both our Powers &lblank; May give you thankful sacrifice!] This is an address and invocation to them, therefore we should read, &lblank; Ye Roman Gods. Warburton.

Note return to page 805 7Ransoming him, or pitying, &lblank;] i. e. remitting his ransom.

Note return to page 806 8And that you not delay the present, &lblank;] Delay, for let slip. Warburton.

Note return to page 807 9&lblank; swords advanc'd, &lblank;] That is, swords lifted high.

Note return to page 808 1&lblank; please you to march, And four shall quickly draw out my Command, Which men are best inclin'd.] I cannot but suspect this passage of corruption. Why should they march, that four might select those that were best inclin'd? How would their inclinations be known? Who were the four that should select them? Perhaps we may read, &lblank; please you to march, And fear shall quickly draw out of my Command, Which men are least inclin'd. It is easy to conceive that, by a little negligence, fear might be changed to four, and least to best.

Note return to page 809 2Wert thou the Hector, That was the whip of your bragg'd Progeny,] The Romans boasted themselves descended from the Trojans, how then was Hector the whip of their progeny? It must mean the whip with which the Trojans scourg'd the Greeks, which cannot be but by a very unusual construction, or the authour must have forgotten the original of the Romans; unless whip has some meaning which includes advantage or superiority, as we say, he has the whip-hand, for he has the advantage.

Note return to page 810 *&lblank; you have sham'd me In your condemned Seconds.] For condemned, we may read contemned. You have, to my shame, sent me help which I despise.

Note return to page 811 3Here is the steed, we the caparison.] This is an odd encomium. The meaning is, this man performed the action, and we only filled up the show.

Note return to page 812 4&lblank; a charter to extol &lblank;] A privilege to praise her own son.

Note return to page 813 *Should they not,] That is, not be remembered.

Note return to page 814 5 In the old copy: &lblank; when drums and trumpets shall, I' th' field, prove flatterers, let courts and cities Be made all of false-fac'd soothing. When steel grows soft as the parasite's silk, Let him be made an overture for th' wars: &lblank;] All here is miserably corrupt and disjointed. We should read the whole thus, &lblank; when drums and trumpets shall, I' th' field, prove flatterers, let camps, as cities, Be made of false-fac'd soothing! When steel grows Soft as the parasite's silk, let hymns be made An overture for the wars! &lblank; The thought is this, If one thing changes its usual nature to a thing most opposite, there is no reason but that all the rest which depend on it should do so too. [If drums and trumpets prove flatterers, let the camp bear the false face of the city.] And if another changes its usual nature, that its opposite should do so too. [When steel softens to the condition of the parasite's silk, the peaceful hymns of devotion should be employed to excite to the charge.] Now, in the first instance, the thought, in the common reading, was entirely lost by putting in courts for camps: and the latter miserably involved in nonsense, by blundering Hymns into him. Warburton.

Note return to page 815 6To undercrest your good Addition,] A phrase from heraldry, signifying, that he would endeavour to support his good opinion of him. Warburton

Note return to page 816 7To th' fairness of my Power.] Fairness, for utmost. Warb. I know not how fairness can mean utmost. When two engage on equal terms, we say it is fair; fairness may therefore be equality; in proportion equal to my power.

Note return to page 817 *The Best, &lblank;] The chief men of Corioli.

Note return to page 818 8Being a Volscian, &c.] It may be just observed, that Shakespeare calls the Volsci, Volsces, which the modern editors have changed to the modern termination. I mention it here, because here the change has spoiled the measure Being a Volsce, be that I am. Condition?

Note return to page 819 9&lblank; for him Shall flie out of itself: &lblank;] To mischief him my valour should deviate from its own native generosity.

Note return to page 820 1&lblank; not sleep, nor sanctuary, &c. Embarkments all of fury, &c. &lblank;] The dramatick art of this speech is great. For after Aufidius had so generously received Coriolanus in exile, nothing but the memory of this speech, which lets one so well into Aufidius's nature, could make his after perfidy and baseness at all probable. But the second line of this impious rant is corrupt. For tho', indeed, he might call the assaulting Marcius at any of those sacred seasons and places an embarkment of fury; yet he could not call the seasons and places themselves, so. We may believe therefore that Shakespear wrote, Embarrments all of fury, &c. &lblank; i. e. obstacles. Tho' those seasons and places are all obstacles to my fury, yet. &c. The Oxford Editor has, in his usual way, refined upon this emendation, in order to make it his own; and so reads, Embankments, not considering how ill this metaphor agrees with what is said just after of their lifting up their rotten privilege, which evidently refers to a wooden bar, not to an earthen bank. These two Generals are drawn equally covetous of glory: But the Volscian not scrupulous about the means. And his immediate repentance, after the assassinate, well agrees with such a character. Warb.

Note return to page 821 *At home, upon my brother's guard, &lblank;] In my own house, with my brother posted to protect him.

Note return to page 822 2Pray you, &c.] When the tribune, in reply to Menenius's remark on the people's hate of Coriolanus, had observed that even beasts know their friends, Menenius asks, whom does the wolf love? implying that there are beasts which love nobody, and that among those beasts are the people.

Note return to page 823 3towards the napes of your necks,] With allusion to the fable, which says, that every man has a bag hanging before him, in which he puts his neighbour's faults, and another behind him, in which he stows his own.

Note return to page 824 4one that converses more, &c.] Rather a late lier down than an early riser.

Note return to page 825 5bisson, blind, in the old copies, is leesome, restored by Mr. Theobald.

Note return to page 826 6you wear out a good, &c.] It appears from this whole speech that Shakespear mistook the office of Præfectus urbis for the Tribune's office. Warb.

Note return to page 827 7set up the bloody flag against all patience,] That is, declare war against patience. There is not wit enough in this satire to recompense its grossness.

Note return to page 828 *herdsmen of Plebeians.] As kings are called &grp;&groa;&gri;&grm;&gre;&grn;&gre;&grst; &grl;&graa;&grw;&grn;.

Note return to page 829 8Take my cap, Jupiter, and I thank thee &lblank;] Tho' Menenius is made a prater and a boon-companion, yet it was not the design of the poet to have him prophane, and bid Jupiter take his cap. Shakespear's thought is very different from what his editors dream'd of. He wrote, Take my cup, Jupiter. i. e. I will go offer a Libation to thee, for this good news: which was the custom of that time. There is a pleasantry, indeed, in his way of expressing it, very agreeable to his convivial character. But the editors, not knowing the use of this cup, alter'd it to cap. Warburton.

Note return to page 830 9Possest, in our authour's language, is fully informed.

Note return to page 831 1He receiv'd in the repulse of Tarquin seven hurts i' th' body. Men. One i' th' neck, and two i' th' thigh: there's nine, that I know.] Seven,—one,—and two, and these make but nine? Surely, we may safely assist Menenius in his Arithmetick. This is a stupid blunder; but wherever we can account by a probable reason for the Cause of it, That directs the emendation. Here it was easy for a negligent transcriber to omit the second one as a needless repetition of the first, and to make a numeral word of too. Warburton.

Note return to page 832 2Which being advanc'd, declines, &lblank;] Volumnia, in her boasting strain, says, that her son, to kill his enemy, has nothing to do but to lift his hand up and let it fall.

Note return to page 833 3My gracious silence, hail!] The epithet to silence shews it not to proceed from reserve or sullenness, but to be the effect of a virtuous mind possessing itself in peace. The expression is extremely sublime; and the sense of it conveys the finest praise that can be given to a good woman. Warburton.

Note return to page 834 4But, with them, Change of honours.] So all the Editions read. But Mr. Theobald has ventured (as he expresses it) to substitute, charge. For change, he thinks, is a very poor expression, and communicates but a very poor idea. He had better have told the plain truth, and confessed that it communicated none at all to him: However it has a very good one in itself; and signifies variety of honours; as change of rayment, amongst the writers of that time, signified variety of rayment. Warb.

Note return to page 835 5Into a rapture &lblank;] Rapture, a common term at that time used for a fit, simply. So, to be rap'd signified, to be in a fit. Warb.

Note return to page 836 6Commit the war of white and damask, in Their nicely gawded cheeks, &lblank;] This commixture of white and red could not, by any figure of speech, be called a war, because it is the agreement and union of the colours that make the beauty. We should read, &lblank; the ware of white and damask &lblank; i. e. the commodity, the merchandise Warburton. Has the commentator never heard of roses contending with lillies for the empire of a lady's cheek? The opposition of colours, though not the commixture, may be called a war.

Note return to page 837 *As if that whatsoever God,] That is, as if that God who leads him, whatsoever God he be.

Note return to page 838 7From where he should begin and end, &lblank;] Perhaps it should be read, From where he should begin t'an end, &lblank;

Note return to page 839 8As he is proud to do't.] I should rather think the author wrote prone: because the common reading is scarce sense or English. Warburton. Proud to do, is the same as, proud of doing, very plain sense, and very common English.

Note return to page 840 9&lblank; carry with us ears and eyes, &c.] That is, let us observe what passes, but keep our hearts fixed on our design of crushing Coriolanus.

Note return to page 841 1he wav'd] That is, he would wave indifferently.

Note return to page 842 2supple and courteous to the people, bonnetted,] The sense, I think, requires that we should read, unbonnetted. Who have risen only by pulling off their hats to the people. Bonnetted may relate to people, but not without harshness.

Note return to page 843 3Your loving motion toward the common Body.] Your kind interposition with the common people.

Note return to page 844 4The Theam of our Assembly.] Here is a fault in the expression: And had it affected our Author's knowledge of nature, I should have adjudged it to his transcribers or editors; but as it affects only his knowledge in history, I suppose it to be his own. He should have said your Assembly. For 'till the Lex Attinia (the author of which is supposed by Sigonius, [De vetere Italiæ Jure] to have been contemporary with Quintus Metellus Macedonicus) the Tribunes had not the privilege of entring the Senate, but had seats placed for them near the door on the outside of the house. Warburton.

Note return to page 845 5That's off, that's off.] That is, that is nothing to the purpose.

Note return to page 846 6&lblank; how can he flatter,] The reasoning of Menenius is this: How can he be expected to practise flattery to others, who abhors it so much, that he cannot hear it even when offered to himself.

Note return to page 847 *When Tarquin made a head for Rome, &lblank;] When Tarquin, who had been expelled, raised a power to recover Rome.

Note return to page 848 7&lblank; every motion Was tim'd with dying cries. &lblank;] The cries of the slaughtered regularly followed his motions, as musick and a dancer accompany each other.

Note return to page 849 8The mortal Gate &lblank;] The Gate that was made the scene of death.

Note return to page 850 9He cannot but with measure fit the Honours,] That is, no honour will be too great for him; he will shew a mind equal to any elevation.

Note return to page 851 1Than Misery itself would give, &lblank;] Misery, for avarice; because a Miser signifies an Avaricious. Warburton.

Note return to page 852 2Com. &lblank; and is content To spend his time to end it. Men. He's right noble.] The last words of Cominius's speech are altogether unintelligible. Shakespear, I suppose, wrote the passage thus, &lblank; and is content To spend his time &lblank; Men. To end it, He's right noble. Cominius, in his last words, was entering upon a new topic in praise of Coriolanus; when his warm friend Menenius, impatient to come to the subject of the honours designed him, interrupts Cominius, and takes him short with,—to end it. i. e. to end this long discourse in one word, he's right noble. Let him be called for. This is exactly in character, and restores the passage to sense. Warburton. I know not whether my conceit will be approved, but I cannot forbear to think that our authour wrote thus, &lblank; he rewards His deeds with doing them, and is content To spend his time, to spend it. To do great acts for the sake of doing them; to spend his life, for the sake of spending it.

Note return to page 853 3It then remains, That you do speak to th' People.] Coriolanus was banished U. C. 262. But till the time of Manlius Torquatus U. C. 393, the Senate chose both the Consuls: And then the people, assisted by the seditious temper of the Tribunes, got the choice of one. But if he makes Rome a Democracy, which at this time was a perfect Aristocracy; he sets the balance even in his Timon, and turns Athens, which was a perfect Democracy, into an Aristocracy. But it would be unjust to attribute this entirely to his ignorance; it sometimes proceeded from the too powerful blaze of his imagination, which when once lighted up, made all acquired knowledge fade and and disappear before it. For sometimes again we find him, when occasion serves, not only writing up to the truth of history, but fitting his sentiments to the nicest manners of his peculiar subject, as well to the dignity of his characters, or the dictates of nature in general. Warburton.

Note return to page 854 4Once;] Once here means the same as when we say, once for all. Warburton.

Note return to page 855 5We have Power in our selves to do it, but it is a Power that we have no Power to do;] I am persuaded this was intended as a ridicule on the Augustine manner of defining free-will at that time in the schools. Warb. A ridicule may be intended, but the sense is clear enough. Power first signifies natural power or force, and then moral power or right. Davies has used the same word with great variety of meaning. Use all thy powers that heavenly power to praise, That gave thee power to do. &lblank;

Note return to page 856 6many-headed multitude.] Hanmer reads, many-headed monster, but without necessity. To be many-headed includes monstrousness.

Note return to page 857 7if all our wits were to issue out of one scull, &c.] Meaning, though our having but one interest was most apparent, yet our wishes and projects would be infinitely discordant. This meaning the Oxford Editor has totally discharged, by changing the text thus, &lblank; issue out of our sculls. Warburton.

Note return to page 858 8the fourth would return for conscience sake, to help to get thee a Wife.] A sly satirical insinuation how small a capacity of wit is necessary for that purpose: But every day's experience of the Sex's prudent disposal of themselves, may be sufficient to inform us how unjust it is. Warburton.

Note return to page 859 9I will not seal your knowledge] I will not strengthen or compleat your knowledge. The seal is that which gives authenticity to a writing.

Note return to page 860 1Why &lblank; should I stand here, To beg of Hob and Dick, that do appear, Their needless Voucher? &lblank;] Why stand I hear in this ragged apparel to beg of Hob and Dick, and such others as make their appearance here, their unnecessary votes. I rather think we should read, Their needless vouches. But voucher may serve, as it may perhaps signify either the act or the agent. &lblank; this woolvish Gown] Signifies this rough hirsute gown.

Note return to page 861 2&lblank; aged Custom,] This was a strange inattention. The Romans at this time had but lately changed the regal for the consular government; for Coriolanus was banished the eighteenth year after the expulsion of the kings. Warburton.

Note return to page 862 3&lblank; ignorant to see't?] The Oxford Editor alters ignorant to impotent, not knowing that ignorant at that time signified impotent. Warburton. That ignorant at any time has, otherwise than consequentially, the same meaning with impotent, I do not know. It has no such meaning in this place. Were you ignorant to see it, is, did you want knowledge to discern it.

Note return to page 863 4&lblank; free contempt,] That is, with contempt open and unrestrained.

Note return to page 864 5&lblank; Enforce his Pride,] Object his pride, and enforce the objection.

Note return to page 865 6And Censorinus, darling of the people,] This verse I have supplied: a line having been certainly left out in this place, as will appear to any one who consults the beginning of Plutarch's life of Coriolanus, from whence this passage is directly translated. Pope.

Note return to page 866 7And Censorinus, &lblank; Was this great Ancestor.] Now the first Censor was created U. C. 314. and Coriolanus was banished U. C. 262. The truth is this, the passage, as Mr. Pope observes above, was taken from Plutarch's life of Coriolanus; who, speaking of the house of Coriolanus, takes notice both of his Ancestors and of his Posterity, which our author's haste not giving him leave to observe, has here confounded one with the other. Another instance of his inadvertency, from the same cause, we have in the first part of Henry IV. where an account is given of the prisoners took on the plains of Holmedon. Mordake the Earl of Fife, and eldest Son To beaten Douglas &lblank; But the Earl of Fife was not son to Douglas, but to Robert Duke of Albany governor of Scotland. He took his account from Holingshead, whose words are, And of prisoners amongst others were these, Mordack Earl of Fife, son to the governor Arkimbald, Earl Douglas, &c. And he imagined that the governor and Earl Douglas were one and the same person. Warburton.

Note return to page 867 *Scaling his present Bearing with his past,] That is, weighing his past and present behaviour.

Note return to page 868 †&lblank; observe and answer The vantage of his anger.] Mark, catch, and improve the opportunity which his hasty anger will afford us.

Note return to page 869 *&lblank; prank them in authority] Plume, display themselves.

Note return to page 870 8&lblank; why rule you not their teeth?] The metaphor is from men's setting a Bull-dog or Mastiff upon any one. Warb.

Note return to page 871 9Not unlike, Each way, to better yours.] i. e. likely to provide better for the security of the commonwealth than you (whose business it is) will do. To which the reply is pertinent, Why then should I be Consul? Yet the restless humour of reformation in the Oxford Editor disturbs the text to, &lblank; better you. Warb.

Note return to page 872 1&lblank; This paltring Becomes not Rome; &lblank;] That is, this trick of dissimulation, this shuffling. Let these be no more believ'd That palter with us in a double sense. Macbeth.

Note return to page 873 *Falsly for treacherously.

Note return to page 874 2Let them regard me, as I do not flatter, And there behold themselves;] Let them look in the mirror which I hold up to them, a mirror which does not flatter, and see themselves.

Note return to page 875 3&lblank; minnows? &lblank;] i. e. Small fry. Warburton. A Minnow is one of the smallest river fish, called in some counties a pink.

Note return to page 876 4'Twas from the canon.] Was contrary to the established rule; it was a form of speech to which he has no right.

Note return to page 877 5The horn and noise &lblank;] Alluding to his having called him Triton before. Warb.

Note return to page 878 6Then vail your ignorance; &lblank;] Ignorance, for impotence; because it makes impotent. The Oxford Editor not understanding this, transposes the whole sentence according to what in his fancy is accuracy. Warburton. Hanmer's transposition deserves notice. &lblank; If they have power, Let them have cushions by you; if none, awake Your dang'rous lenity; if you are learned, Be not as common fools; if you are not, Then vail your ignorance. You are Plebeians, &c. I neither think the transposition of one editor right, nor the interpretation of the other. The sense is plain enough without supposing ignorance to have any remote or consequential sense. If this man has power, let the ignorance that gave it him vail or bow down before him.

Note return to page 879 7&lblank; You're Plebeians, If they be Senators; and they are no less, When, both your voices blended, the great'st taste Most palates theirs. &lblank;] These lines may, I think, be made more intelligible by a very slight correction. &lblank; they no less [than Senators] When, both your voices! blended, the great'st taste Must palate theirs. When the taste of the great, the patricians, must palate, must please [or must try] that of the plebeians.6Q0225

Note return to page 880 8&lblank; and my soul akes] The mischief and absurdity of what is called Imperium in imperio, is here finely expressed. Warb.

Note return to page 881 9They would not thread the gates;] That is, pass them. We yet say, to thread an alley.

Note return to page 882 1&lblank; could never be the native] Native, for natural birth. Warburton. Native is here not natural birth, but natural parent, or cause of birth. But I would read motive, which, without any distortion of its meaning, suits the speaker's purpose.

Note return to page 883 2No, take more. What may be sworn by, both divine and human Seal what I end withal! &lblank;] The false pointing hath made this unintelligible. It should be read and pointed thus, No, take more; What may be sworn by. Both Divine and Human Seal what I end withal! &lblank;] i. e. No, I will still proceed, and the truth of what I shall say may be sworn to. And may both Divine and Human powers [i. e. the Gods of Rome and Senate] confirm and support my conclusion. Warburton.6Q0226

Note return to page 884 3&lblank; purpose so barr'd, it follows, Nothing is done to purpose, &lblank;] This is so like Polonius's eloquence, and so much unlike the rest of Coriolanus's language, that I am apt to think it spurious. Warburton.

Note return to page 885 4That love the fundamental part of State More than you doubt the change of't; &lblank;]i. e. Who are so wedded to accustomed forms in the administration, that in your care for the preservation of those, you overlook the danger the constitution incurs by strictly adhering to them This the speaker, in vindication of his conduct, artfully represents to be his case; yet this pertinent observation the Oxford Editor, with one happy dash of his pen, in amending doubt to do, entirely abolishes. Warburton. To doubt is to fear. The meaning is, You whose zeal predominates over your terrours; you who do not so much fear the danger of violent measures, as wish the good to which they are necessary, the preservation of the original constitution of our government.

Note return to page 886 5Mangles true judgment, &lblank;] Judgment, for government. Warburton. Judgment is judgment in its common sense, or the faculty by which right is distinguished from wrong.

Note return to page 887 6&lblank; which should become it:] Become, for adorn. Warb. Integrity is in this place soundness, uniformity, consistency, in the same sense as Dr. Warburton often uses it when he mentions the integrity of a metaphor. To become, to suit, to befit.

Note return to page 888 7&lblank; it must be meet,] Hanmer reads, &lblank; it must be law. And Dr. Warburton follows him, surely without necessity.

Note return to page 889 *&lblank; very poisonous,] I read, are very poisons.

Note return to page 890 8Com. Stand fast, &c.] This speech certainly should be given to Coriolanus; for all his friends persuade him to retire. So Cominius presently after; Come, Sir, along with us. Warburton.

Note return to page 891 9One time will owe another] I know not whether to owe in this place means to possess by right, or to be indebted. Either sense may be admitted. One time, in which the people are seditious, will give us power in some other time: or, this time of the people's predominance will run them in debt: that is, will lay them open to the law, and expose them hereafter to more servile subjection.

Note return to page 892 1This is clean kam.] i. e. Awry. So Cotgrave interprets Tout va á contrepoil, All goes clean kam. Hence a Kambrel for a crooked stick, of the bend in a horse's hinder-leg. Warb.6Q0227

Note return to page 893 2In former copies: Men. The service of the foot, &c.] Nothing can be more evident than that this could never be said by Coriolanus's apologist, and that it was said by one of the Tribunes; I have therefore given it to Sicinius. Warb.

Note return to page 894 3I muse, &lblank;] That is, I wonder, I am at a loss.

Note return to page 895 4&lblank; my ordinance &lblank;] My rank.

Note return to page 896 5Before he should thus stoop to th' Heart &lblank;] This nonsence should be reformed thus, Before he thus should stoop to th' Herd. i. e. the people. Warburton.

Note return to page 897 6Why force you &lblank;] Why urge you.

Note return to page 898 7&lblank; bastards, and syllables Of no allowance, to your bosom's truth.] I read, Of no alliance, &lblank; therefore bastards.

Note return to page 899 8&lblank; I am in this Your Wife, your Son: the Senators, the Noble. &lblank; And You, &c.] The pointing of the printed copies makes stark nonsense of this passage. Volumnia is persuading Coriolanus that he ought to flatter the people, as the general fortune was as stake; and says, that, in this advice, she speaks as his wife, as his son; as the Senate, and body of the Patricians; who were in some measure link'd to his conduct. Warburton. I rather think the meaning is, I am in their condition, I am at stake, together with your wife, your son.

Note return to page 900 9&lblank; our general lowts] Our common clowns.

Note return to page 901 *&lblank; that Want &lblank;] The want of their loves.

Note return to page 902 1Not what &lblank;] In this place not seems to signify not only.

Note return to page 903 2&lblank; waving thy head, Which often, thus, correcting thy stout heart.] But do any of the ancient, or modern masters of elocution prescribe the waving the head, when they treat of action? Or how does the waving the head correct the stoutness of the heart, or evidence humility? Or lastly, where is the sense or grammar of these words, Which often, thus, &c.? These questions are sufficient to shew that the lines are corrupt. I would read therefore, &lblank; waving thy hand, Which soften thus, correcting stout heart. This is a very proper precept of action suiting the occasion: Wave thy hand, says she, and soften the action of it thus,—then strike upon thy breast, and by that action shew the people thou hast corrected thy stout heart. All here is fine and proper. Warburton. The correction is ingenious, yet I think it not right. Head or hand is indifferent. The hand is waved to gain attention; the head is shaken in token of sorrow. The word wave suits better to the hand, but in considering the authour's language, too much stress must not be laid on propriety against the copies. I would read thus, &lblank; waving thy head, With often, thus, correcting thy stout heart. That is, shaking thy head, and striking thy breast. The alteration is slight, and the gesture recommended not improper.

Note return to page 904 3&lblank; my unbarbed sconce?] The suppliants of the people used to present themselves to them in sordid and neglected dresses.

Note return to page 905 4&lblank; single plot &lblank;] i. e. piece, portion; applied to a piece of earth, and here elegantly transferred to the body, carcase. Warburton.

Note return to page 906 5Which quired with my drum,] Which played in concert with my drum.

Note return to page 907 6Tent in my cheeks,] To tent is to take up residence.

Note return to page 908 7&lblank; to honour mine own truth.] &grP;&graa;&grn;&grt;&grw;&grn; &grd;&greg; &grm;&graa;&grl;&gri;&grst; &gras;&gri;&grs;&grx;&grua;&grn;&gre;&gro; &grs;&gre;&grac;&gru;&grt;&gro;&grn;. Pythagoras.

Note return to page 909 8&lblank; let Thy Mother rather feel thy pride, than fear Thy dangerous stoutness; &lblank;] This is obscure. Perhaps she means, Go, do thy worst; let me rather feel the utmost extremity that thy pride can bring upon us, than live thus in fear of thy dangerous obstinacy.

Note return to page 910 9&lblank; i' th' truth o' th' Cause] This is not very easily understood. We might read, &lblank; o'er th' truth o' th' Cause.

Note return to page 911 1&lblank; and to have his word Of contradiction. &lblank;] The sense here falls miserably. He hath been used, says the speaker, ever to conquer—And what then?— and to contradict. We should read and point it thus, &lblank; And to have his word, off contradiction. &lblank; i. e to have his opinion carry it without contradiction. Here the sense rises elegantly. He used ever to conquer; nay to conquer without opposition. Warb. To have his word of contradiction is no more than, he is used to contradict; and to have his word, that is, not to be opposed. We still say of an obstinate disputant, he will have the last word.

Note return to page 912 2&lblank; which looks With us to break his neck.] A familiar phrase of that time, signifying works with us. But the Oxford Editor understanding the sense better than the expression, gives us here Shakespear's meaning in his own words. Warb. To look is to wait or expect. The sense, I believe, is, What he has in his heart is waiting there to help us to break his neck.

Note return to page 913 3&lblank; plant love amongst you Through our large Temples with the shews of peace, And not our streets with war!] We should read, Throng our large Temples. The other is rank nonsense. Warburton.

Note return to page 914 4Envy is here taken at large for malignity or ill intention.

Note return to page 915 5&lblank; season'd Office, &lblank;] All office established and settled by time, and made familiar to the people by long use.

Note return to page 916 *&lblank; as now at last] Read rather, has now at last.

Note return to page 917 6&lblank; not in the presence] Not stands again for not only.

Note return to page 918 7My dear wife's estimate,] I love my country beyond the rate at which I value my dear wife.

Note return to page 919 8&lblank; Have the power still To banish your Defenders, 'till at length, Your ignorance, which finds not, 'till it feels, &c.] Still retain the power of banishing your defenders, 'till your undiscerning folly, which can foresee no consequences, leave none in the city but yourselves, who are always labouring your own destruction. It is remarkable, that, among the political maxims of the speculative Harrington, there is one which he might have borrowed from this speech. The people, says he, cannot see, but they can feel. It is not much to the honour of the people, that they have the same character of stupidity from their enemy and their friend. Such was the power of our authour's mind, that he looked through life in all its relations private and civil.

Note return to page 920 9&lblank; Fortune's blows, When most struck home, being gentle wounded, craves A noble cunning. &lblank;] This is the ancient and authentick reading. The modern editors have, for gentle wounded, silently substituted gently warded, and Dr. Warburton has explained gently by nobly. It is good to be sure of our authour's words before we go about to explain their meaning. The sense is, When fortune strikes her hardest blows, to be wounded, and yet continue calm, requires a generous policy. He calls this calmness cunning, because it is the effect of reflection and philosophy. Perhaps the first emotions of nature are nearly uniform, and one man differs from another in the power of endurance, as he is better regulated by precept and instruction. They bore as heroes, but they felt as man.

Note return to page 921 1cautelous baits and practice.] By artful and false tricks, and treason.

Note return to page 922 2My first Son,] First, i. e. noblest, most eminent of men. War.6Q0228

Note return to page 923 3My friends of noble touch;] i. e. of true metal unallay'd. Metaphor taken from trying gold on the touchstone. Warb.

Note return to page 924 4Sic. Are you mankind? Vol. Ay, fool. Is that a shame? Note but this fool. Was not a Man my Father? &lblank;] The word mankind is used maliciously by the first speaker, and taken perversely by the second. A mankind woman is a woman with the roughness of a man, and, in an aggravated sense, a woman ferocious, violent, and eager to shed blood. In this sense Sicinius asks Volumnia, if she be mankind. She takes mankind for a human creature, and accordingly cries out, &lblank; Note but this fool. Was not a Man my Father?

Note return to page 925 *&lblank; Hadst thou foxship] Hadst thou, fool as thou art, mean cunning enough to banish Coriolanus?

Note return to page 926 5but your favour is well appear'd by your tongue.] This is strange nonsense. We should read, &lblank; is well appeal'd, i. e. brought into remembrance. Warburton. I should read, &lblank; is well affeard, that is, strengthened, attested, a word used by our authour. My tidie is affear'd. Macbeth. To repeal may be to bring to remembrance, but appeal has another meaning.

Note return to page 927 *already in the entertainment,] That is, though not actually encamped yet already in pay. To entertain an army is to take them into pay.

Note return to page 928 6Oh, world, thy slippery turns! &c.] This fine picture of common friendships, is an artful introduction to the sudden league, which the poet makes him enter into with Aufidius: and no less artful an apology for his commencing enemy to Rome. Warburton.

Note return to page 929 7&lblank; So, with me; &lblank; My country have I and my lovers left; This enemy's Town I'll enter; if he slay me, &c.] He who reads this would think that he was reading the lines of Shakespeare, except that Coriolanus, being already in the town, says, he will enter it. Yet the old edition exhibits it thus: &lblank; So, with me, My birth-place have I, and my loves upon This enemie towne; I'll enter if he slay me, &c. The intermediate line seems to be lost, in which, conformably to his former observation, he says, that he has lost his birth-place and his loves upon a petty dispute, and is trying his chance in this enemy town, he then cries, turning to the house of Aufidius, I'll enter if he slay me. I have preserved the common reading, because it is, though faulty, yet intelligible, and the original passage, for want of copies, cannot be restored.

Note return to page 930 8&lblank; A good memory.] The Oxford Editor, not knowing that memory was used at that time for memorial, alters it to memorial. Warburton.

Note return to page 931 9A heart of wreak in thee,] A heart of resentment.

Note return to page 932 *&lblank; maims Of shame &lblank;] That is, disgraceful diminutions of territory.

Note return to page 933 1sanctifies himself with's hands,] Alluding, improperly, to the act of crossing upon any strange event.

Note return to page 934 2He'll—sowle the porter of Rome gates by th' ears.] That is, I suppose, drag him down by the ears into the dirt. Souiller, French.

Note return to page 935 3his passage poll'd.] That is, bared, cleared.

Note return to page 936 4full of vent.] Full of rumour; full of materials for discourse.

Note return to page 937 5because they then less need one another:] Shakespear when he chooses to give us some weighty observation upon human nature, not much to the credit of it, generally (as the intelligent reader may observe) puts it into the mouth of some low buffoon character. Warburton.

Note return to page 938 6His remedies are tame i' th' present peace,] The old reading is, His remedies are tame, the present peace. I do not understand either line, but fancy it should be read thus, &lblank; neither need we fear him; His remedies are ta'en, the present peace, And quietness o'th' people, &lblank; The meaning, somewhat harshly expressed according to our authour's custom, is this: We need not fear him, the proper remedies against him are taken, by restoring peace and quietness.

Note return to page 939 7&lblank; affecting one sole Throne, Without assistance.] That is, without Assessors; without any other suffrage.

Note return to page 940 8&lblank; reason with the fellow] That is, have some talk with him. In this sense Shakespeare often uses the word.

Note return to page 941 9&lblank; can no more atone,] This is a very elegant expression, and taken from unison strings giving the same tone or sound. Warburton. To atone, in the active sense, is to reconcile, and is so used by our authour. To atone here, is, in the neutral sense, to come to reconciliation. To atone is to unite.

Note return to page 942 1&lblank; burned in their cement, &lblank;] Cement, for cincture or inclosure; because both have the idea of holding together. Warb. Cement has here its common signification.

Note return to page 943 2The breath of garlick-eaters.] To smell of garlick was once such a brand of vulgarity, that garlick was a food forbidden to an ancient oder of Spanish knights, mentioned by Guevara.

Note return to page 944 3They charge him, &c.] Their charge or injunction would shew them insensible of his wrongs, and make them shew like enemies. I read shew, not shewed, like enemies.

Note return to page 945 4They'll roar him in again. &lblank;] As they hooted at his departure, they will roar at his return; as he went out with scoffs, he will come back with lamentations.

Note return to page 946 5As is the Osprey &lblank;] Osprey, a kind of eagle, Ossifraga. Pope.6Q0229

Note return to page 947 6&lblank; whether pride, Which out of daily fortune ever taints The happy man; whether &lblank;] Aufidius assigns three probable reasons of the miscarriage of Coriolanus; pride which easily follows as uninterrupted train of success; unskilfulness to regulate the consequences of his own victories; a stubborn uniformity of nature, which could not make the proper transition from the cask or helmet to the cushion or chair of civil authority; but acted with the same despotism in peace as in war.

Note return to page 948 7&lblank; He has merit To choak it in the utt'rance; &lblank;] He has merit, for no other purpose than to destroy it by boasting it.

Note return to page 949 8And Power, unto itself most commendable, Hath not a tomb so evident, as a chair T' extol what it hath done.] This is a common thought, but miserably ill expressed. The sense is, the virtue which delights to commend itself, will find the surest Tomb in that Chair wherein it holds forth its own commendations. &lblank; unto itself most commendable. i. e. which hath a very high opinion of itself. Warb.

Note return to page 950 9Right's by right Fouler,] This has no manner of sense. We should read, Right's by right fouled, Or, as it is commonly written in English, foiled, from the French, fouler, to tread or trample under foot. Warburton. I believe rights, like strengths, is a plural noun. I read. Rights by rights founder, strengths by strengths do fail. That is, by the exertion of one right another right is lamed.

Note return to page 951 1&lblank; that have rack'd for Rome,] We should read reck'd, i. e. been careful, provident for. In this insinuation of their only minding trifles, he satirizes them for their injustice to Coriolanus; which was like to end in the ruin of their country. The Oxford Editor seeing nothing of this reads. &lblank; have sack'd fair Rome. Warburton.

Note return to page 952 2It was a bare petition &lblank;] Bare, for mean, beggarly. Warburton. I believe rather, a petition unsupported, unaided by names that might give it influence.

Note return to page 953 3He was not taken well, he had not din'd, &c.] This observation is not only from nature, and finely expressed, but admirably befits the mouth of one, who in the beginning of the play had told us, that he loved convivial doings. Warburton.

Note return to page 954 4I tell you, he does sit in gold; &lblank;] He is inthroned in all the pomp and pride of imperial splendour. &grX;&grr;&gru;&grz;&gro;&grq;&grr;&gro;&grn;&gro;&grst; &GRHsa;&grr;&grh; &lblank; Hom.

Note return to page 955 5Bound with an oath not to yield to his conditions:] This is apparently wrong. Sir T. Hanmer, and Dr. Warburton after him, read, Bound with an oath not to yield to new conditions. They might have read more smoothly, &lblank; to yield no new conditions. But the whole speech is in confusion, and I suspect something left out. I should read, &lblank; What he would do, He sent in writing after; what he would not, Bound with an oath. To yield to his conditions. Here is I think a chasm. The speaker's purpose seems to be this: To yield to his conditions is ruin, and better cannot be obtained, so that all hope is vain.

Note return to page 956 6So that all hope is vain, unless his mother And wife, who (as I hear) mean to sollicit him For mercy to his country.] Unless his mother and wife—do what? the sentence is imperfect. We should read, Force mercy to his Country &lblank;. then all is right. Warb.

Note return to page 957 7&lblank; Lots to Blanks,] A Lot here is a prize.

Note return to page 958 8For I have ever verified my friends, &lblank; with all the size the verity, &c.] Shakespear's mighty talent in painting the manners, is especially remarkable in this place. Menenius here, and Polonius in Hamlet, have much of the same natural character. The difference is only accidental. The one was a senator in a free state; and the other a courtier, and minister to a King; which two circumstances afforded matter for that inimitable ridicule thrown over the character of Polonius. For the rest, there is an equal complaisance for those they follow; the same disposition to be a creature; the same love of prate; the same affectation of wisdom, and forwardness to be in business. But we must never believe Shakespear could make either of them say, I have verified my friends with all the size of verity; nay what is more extra-ordinary, verified them beyond verity. Without doubt he wrote, For I have ever narrified my friends, i. e. made their encomium. This too agrees with the foregoing metaphors of book, read, and constitutes an uniformity amongst them. From whence the Oxford Editor took occasion to read magnified: which makes the absurdity much worse than he found it: for, to magnify signifies to exceed the truth; so that this critic makes him say he magnified his friend within the size of verity: i. e. he exceeded truth even while he kept within it. Warburton. If the commentator had given any example of the word narrify, the correction would have been not only received but applauded. Now, since the new word stands without authority, we must try what sense the old one will afford. To verify is to establish by testimony. One may say with propriety, he brought false witnesses to verify his title. Shakespeare considered the word with his usual laxity, as importing rather testimony than truth, and only meant to say, I bore witness to my friends with all the size that verity would suffer. I must remark, that to magnify signifies to exalt or enlarge, but not necessarily to enlarge beyond the truth.

Note return to page 959 9the virginal palms of your daughters,] By virginal palms may be indeed understood the holding up the hands in supplication. Therefore I have altered nothing. But as this sense is cold, and gives us even a ridiculous idea; and as the passions of the several intercessors seem intended to be here represented, I suspect Shakespear might write pasmes or pames, i. e. swooning fits, from the French posmer, or pâmer. I have frequently used the liberty to give sense to an unmeaning passage by the introduction of a French word of the same sound, which I suppose to be of Shakespear's own coining And I am certainly justified in so doing, by the great number of such sort of words to be found in the common text. But for a further justification of this liberty, take the following instance; where all must agree that the common reading is corrupt by the Editors inserting an English word they understood, instead of one coined by Shakespear out of French, which they understood not. It is in his Tarquin and Lucrece, where he is speaking of the office and empire of Time, and the effects it produces in the world, Time's glory is &lblank; To fill with worm-holes stately monuments, To feed oblivion with decay of things; To blot old books and alter their contents; To pluck the quills from ancient ravens wings; To dry the old oak's sap, and cherish springs. The two last words, if they make any sense, it is such as is directly contrary to the sentiment here advanced; which is concerning the decays, not the repairs, of time. The poet certainly wrote, To dry the old oak's sap, and parish springs. i. e. dry up springs, from the French, tarir or tarissement, exarefacere, exficcatio: These words being peculiarly applied to springs or rivers. WARBURTON. I have inserted this note, because it contains an apology for many others. It is not denied that many French words were mingled in the time of Elizabeth with our language, which have since been ejected, and that any which are known to have been then in use may be properly recalled when they will help the sense. But when a word is to be admitted, the first question should be, by whom was it ever received? in what book can it be shewn? If it cannot be proved to have been in use, the reasons which can justify its reception must be stronger than any critick will often have to bring. Even in this certain emendation the new word is very liable to contest. I should read, &lblank; and perish springs. The verb perish is commonly neutral, but in conversation is often used actively, and why not in the works of a writer negligent beyond all others of grammatical niceties?

Note return to page 960 *Back, I say go; left I let forth your half pint of Blood. Back, that's the utmost of your having, back.] As these words are read and pointed, the sentence [that's the utmost of your having] signifies, you are like to get no further. Whereas the author evidently intended it to refer to the half pint of blood he speaks of, and to mean, that that was all he had in his veins. The thought is humourous; and to disembarras it from the corrupt expression, we should read and point it thus, Lest I let forth your half pint of blood: that's the utmost of your having. Back, back. Warburton. I believe the meaning never was mistaken, and therefore do not change the reading.

Note return to page 961 1&lblank; Guess but my entertainment with him;] I read, Guess by my entertainment with him, if thou standest not i' th' state of hanging.

Note return to page 962 2&lblank; Though I owe My revenge properly,] Though I have a peculiar right in revenge, in the power of forgiveness the Volscians are conjoined.

Note return to page 963 3Shent is brought to destruction.

Note return to page 964 4&lblank; How plainly I've born this business.] That is, how openly, how remotely from artifice or concealment.

Note return to page 965 5The sorrow, that delivers us thus chang'd, Makes you think so.] Virgilia makes a voluntary misinterpretation of her husband's words. He says, These eyes are not the same, meaning, that he saw things with other eyes, or other dispositions. She lays hold on the word eyes, to turn his attention on their present appearance.

Note return to page 966 6Now by the jealous Queen of heaven, &lblank;] That is, by Juno, the guardian of marriage, and consequently the avenger of connubial perfidy.

Note return to page 967 7The noble sister of Poplicola,] Valeria, methinks, should not have been brought only to fill up the procession without speaking.

Note return to page 968 8&lblank; Epitome of yours,] I read, Epitome of you. An epitome of you which enlarged by the commentaries of time may equal you in magnitude.

Note return to page 969 9With the consent of supream Jove.] This is inserted with great decorum. Jupiter was the tutelary God of Rome. Warb.

Note return to page 970 1&lblank; every flaw,] That is, every gust; every storm.

Note return to page 971 2Constrains them weep, and shake &lblank;] That is, constrain the eye to weep, and the heart to shake.

Note return to page 972 3&lblank; the fine strains &lblank;] The niceties, the refinements.

Note return to page 973 4Ana yet to change thy sulphur &lblank;] We should read charge. The meaning of the passage is, To threaten much, and yet be merciful. Warburton.

Note return to page 974 5Like one i' th' Stocks. &lblank;] Keep me in a state of ignominy, talking to no purpose.

Note return to page 975 6Does reason our petition &lblank;] Does argue for us and our petition.

Note return to page 976 7&lblank; I'll work My self a former fortune.] I will take advantage of this concession to restore myself to my former credit and power.

Note return to page 977 8Cor. &lblank; Come, enter with us: Ladies, you deserve, &c.] This speech beginning at, Ladies, you deserve—which is absurdly given to Coriolanus, belongs to Aufidius. For it cannot be supposed that the other, amidst all the disorder of violent and contrary passions, could be calm and disengaged enough to make so gallant a compliment to the ladies. Let us farther observe from this speech where he says, &lblank; all the swords In Italy, and her confed'rate arms, And from that a little before, &lblank; Let the Volscians Plough Rome, and harrow Italy; &lblank; That the poet's head was running on the later grandeur of Rome, when as at this time her dominion extended only a few miles round the city. Warb. The speech suits Aufidius justly enough, if it had been written for him; but it may, without impropriety, be spoken by Coriolanus; and, since the copies give it to him, why should we dispossess him?

Note return to page 978 9than an eight years old horse.] Subintelligitur remembers his dam. Warburton.

Note return to page 979 1He sits in state,] In the foregoing note he was said to sit in gold. The phrase, as a thing made for Alexander, means, as one made to resemble Alexander.

Note return to page 980 2He wag'd me with his countenance, &lblank;] This is obscure. The meaning, I think, is, he prescribed to me with an air of authority, and gave me his countenance for my wages; thought me sufficiently rewarded with good looks.

Note return to page 981 3For which my sinews shall be stretch'd &lblank;] This is the point on which I will attack him with my utmost abilities.

Note return to page 982 4&lblank; answering us With our own charge,] That is, rewarding us with our own expences; making the cost of the war its recompence.

Note return to page 983 7&lblank; his same folds in This orb o' th' earth. &lblank;] His fame overspreads the world.

Note return to page 984 The Tragedy of Coriolanus is one of the most amusing of our authour's performances. The old man's merriment in Menenius; the lofty lady's dignity in Volumnia; the bridal modesty in Virgilia; the patrician and military haughtiness in Coriolanus; the plebeian malignity, and tribunitian insolence in Brutus and Sicinius, make a very pleasing and interesting variety: and the various revolutions of the hero's fortune fill the mind with anxious curiosity. There is, perhaps, too much bustle in the first act, and too little in the last.

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