Note return to page 1 [1] 1 In delivering my son from me &lblank;] To deliver from, in the sense of giving up, is not English. Shakespear wrote, in dissevering my son from me—The following Words, too, —I bury a second husband—demand this reading. For to dissever implies a violent divorce; and therefore might be compared to the burying a husband; which, delivering does not.

Note return to page 2 [2] 2 whose worthiness would stir it up where it wanted, rather than lack it where there is such abundance.] An Opposition of Terms is visibly design'd in this sentence; tho' the Opposition is not so visible, as the Terms now stand. Wanted and Abundance are the Opposites to one another; but how is lack a Contrast to stir up? The Addition of a single Letter gives it, and the very Sense requires it. Read slack it.

Note return to page 3 [3] 3 This young gentlewoman had a father (O, that had! how sad a passage 'tis!] Lafeu was speaking of the King's desperate Condition: which makes the Countess recall to mind the deceased Gerard de Narbon, who, she thinks, could have cured him. But in using the word had, which implied his death, she stops in the middle of her sentence, and makes a reflexion upon it, which, according to the present reading, is unintelligible. We must therefore believe Shakespear wrote (O that had! how sad a presage 'tis) i. e. a Presage that the King must now expect no cure, since so skilful a Person was himself forced to submit to a malignant distemper.

Note return to page 4 [4] 4 where an unclean mind carries virtuous qualities, there, commendations go with pity; they are Virtues and Traitors too: in her they are the better for their simpleness; she derives her honesty, and atchieves her goodness.] This obscure encomium is made still more obscure by a slight corruption of the text. Let us explain the passage as it lies. By virtuous qualities are meant qualities of good breeding and erudition; in the same sense that the Italians say, qualità virtuosa; and not moral ones. On this account it is, she says, that, in an ill mind, these virtuous qualities are virtues and traitors too: i. e. the advantages of education enable an ill mind to go further in wickedness than it could have done without them: But, says the Countess, in her they are the better for their simpleness. But simpleness is the same with what is called honesty, immediately after; which cannot be predicated of the qualities of education. We must certainly read her simpleness And then the sentence is properly concluded. The Countess had said, that virtuous qualities are the worse for an unclean mind, but concludes that Helen's are the better for her simpleness. i. e. her clean, pure mind. She then sums up the Character, she had before given in detail, in these words, she derives her honesty, and atchieves her goodness, i. e. She derives her honesty, her simpleness, her moral Character, from her Father and Ancestors: But she atchieves or wins her goodness, her virtue, or her qualities of good-breeding and erudition, by her own pains and labour.

Note return to page 5 [5] 5 If the living be enemy to the grief, the excess makes it soon mortal.] This seems very obscure; but the addition of a Negative perfectly dispels all the mist. If the living be not enemy, &c. excessive grief is an enemy to the living, says Lafeu: Yes, replies the Countess; and if the living be not enemy to the grief, [i. e. strive to conquer it,] the excess makes it soon mortal.

Note return to page 6 [6] 6 &lblank; and collateral light.] collateral for reflected. i. e. in the radiance of his reflected light; not in his sphere, or direct light. Milton uses the word, in the same sense, speaking of the Son. &lblank; Of high collateral Glory. Book 10. v. 86.

Note return to page 7 [7] 7 Cold wisdom waiting on superfluous folly.] Cold for naked; as superfluous for over-cloath'd. This makes the propriety of the Antithesis.

Note return to page 8 [8] 8 Stain of soldier] stain for colour. Parolles was in red, as appears from his being afterwards called red-tail'd humble bee.

Note return to page 9 [9] 9 He, that hangs himself, is a Virgin:] But why is he that hangs himself a Virgin? Surely, not for the reason that follows. Virginity murder: itself. For tho' every Virgin be a Suicide, yet every Suicide is not a Virgin. A word or two are dropt, which introduced a comparison in this place; and Shakespear wrote it thus, as he, that hangs himself, so is a Virgin. And then it follows naturally, Virginity murders itself. By this emendation, the Oxford Editor was enabled to alter the Text thus, He that hangs himself is like a Virgin. And this is his usual way of becoming a Critick at a cheap expence.

Note return to page 10 [1] 1 A Phœnix, Captain, &c.] The eight following lines between the hooks, I am persuaded is the nonsense of some foolish conceited Player. What put it into his head was Helen's saying, as it should be read for the future, There shall your Master have a thousand loves; A Mother, and a Mistress, and a Friend. I know not, what he shall—God send him well. Where the Fellow finding a thousand loves spoken of, and only three reckoned up, namely a Mother's, a Mistress's, and a Friend's, (which, by the way, were all a judicious Writer could mention; for there are but these three species of love in Nature) he would help out the number, by the intermediate nonsense: and, because they were yet too few, he pieces out his loves with enmities, and makes of the whole such finished nonsense as is never heard out of Bedlam.

Note return to page 11 [2] 2 is a virtue of a good wing, and I like the wear well.] The integrity of the metaphor directs us to Shakespear's true reading; which, doubtless, was—a good ming, i. e. mixture, composition, a word common to Shakespear and the writers of this age; and taken from the texture of cloth. The M was turn'd the wrong way at the press, and from thence came the blunder.

Note return to page 12 [3] 3 &lblank; haggish age steal on,] age, which debilitates; alluding to the superstitions of being hagridden in the Epialtis; which coming gradually on, it was said, the witch stole upon them.

Note return to page 13 [4] 4 Ere they can hide their levity in honour:] i. e. ere their titles can cover the levity of their behaviour, and make it pass for desert. The Oxford Editor, not understanding this, alters the line to Ere they can vye their levity with his honour.

Note return to page 14 [5] 5 So like a Courtier, no Contempt or Bitterness Were in his Pride or Sharpness; if they were, His Equal had awak'd them. &lblank;] This Passage is so very incorrectly pointed, that the Author's Meaning is lost. As the Text and Stops are reform'd, these are most beautiful Lines, and the Sense is this—“He had no Contempt or Bitterness; if he had any thing that look'd like Pride or Sharpness, (of which Qualities Contempt and Bitterness are the Excesses,) his Equal had awak'd them, not his Inferior; to whom he scorn'd to discover any thing that bore the Shadow of Pride or Sharpness.”

Note return to page 15 [6] 6 He us'd as creatures of another place.] i. e. he made allowances for their conduct, and bore from them what he would not from one of his own rank. The Oxford Editor, not understanding the Sense, has altered another place, to a Brother-race.

Note return to page 16 [7] 7 Making them proud of his humility, In their poor praise, he humbled &lblank;] But why were they proud of his Humility? It should be read and pointed thus. &lblank; Making them proud; and his Humility, In their poor praise, he humbled &lblank; i. e. by condescending to stoop to his Inferiors, he exalted them and made them proud; and, in the gracious receiving their poor praise, he humbled even his humility. The Sentiment is fine.

Note return to page 17 [8] 8 lives not his epitaph,] epitaph for character.

Note return to page 18 [9] 9 labourers room.] We should read labourer, i. e. an active successor.

Note return to page 19 [1] 1 you lack not folly to commit them, and have ability enough to make such knaveries yours.] Well, but if he had folly to commit them, he neither wanted knavery, nor any thing else, sure, to make them his own. This nonsense should be read, To make such knaveries yare; nimble, dextrous, i. e. Tho' you be fool enough to commit knaveries, yet you have quickness enough to commit them dextrously: for this observation was to let us into his character. But now, tho' this be set right, and, I dare say, in Shakespear's own words, yet the former part of the sentence will still be inaccurate—you lack not folly to commit them. Them, what? the sense requires knaveries, but the antecedent referr'd to, is complaints. But this was certainly a negligence of Shakespear's, and therefore to be left as we find it. And the reader, who cannot see that this is an inaccuracy which the Author might well commit, and the other what he never could, has either read Shakespear very little, or greatly mispent his pains. The principal office of a critick is to distinguish between these two things. But 'tis that branch of criticism which no precepts can teach the writer to discharge, or the reader to judge of.

Note return to page 20 [2] 2 A prophet, I, Madam; and I speak the truth the next way.] It is a superstition, which has run through all ages and people, that natural fools have something in them of divinity. On which account they were esteemed sacred: Travellers tell us in what esteem the Turks now hold them; nor had they less honour paid them heretofore in France, as appears from the old word Benêt, for a natural fool. Hence it was that Pantagruel, in Rablais, advised Panurge to go and consult the fool Triboulet as an oracle; which gives occasion to a satirical Stroke upon the privy council of Francis the First.—Par l'avis, conseil, prediction des fols vos sçavez quants princes, &c. ont esté conservez, &c.—The phrase—speak the truth the next way, means directly; as they do who are only the instruments or canals of others; such as inspired persons were supposed to be.

Note return to page 21 [3] 3 Was this fair face the cause, quoth she, Why the Grecians sacked Troy? Fond done, fond done; Was this King Priam's joy.] This is a Stanza of an old ballad, out of which a word or two are dropt, equally necessary to make the sense and the alternate rhime. For it was not Helen, who was King Priam's joy, but Paris. The third line therefore should be read thus, Fond done, fond done, for Paris, he.

Note return to page 22 [4] 4 Among nine bad if one be good, There's yet one good in ten.] This second stanza of the ballad is turned to a joke upon the women: a confession, that there was one good in ten. Whereon the Countess observed, that he corrupted the song; which shews the song said, Nine good in ten. If one be bad amongst nine good, There's but one bad in ten. This relates to the ten sons of Priam, who all behaved themselves well but Paris. For, tho' he once had fifty, yet at this unfortunate period of his reign he had but ten; Agathon, Antiphon, Deiphobus, Dius, Hector, Helenus, Hippothous, Pemmon, Paris, and Polites.

Note return to page 23 [5] 5 Diana added by Mr. Theobald.

Note return to page 24 [6] 6 Such were our faults, or then we thought them none] We should read, &lblank; O! then we thought them none. A motive for pity and pardon; agreeable to fact, and the indulgent character of the speaker. This was sent to the Oxford Editor, and he altered O, to tho'.

Note return to page 25 [7] 7 A native slip to us from foreign seeds.] The integrity of the metaphor requires we should read steads, i. e. stocks, stools, (as they are called by the gardeners,) from whence young slips or suckers are propagated. And it is not unlikely that Shakespear might write it so.

Note return to page 26 [8] 8 &lblank; or were you both our mothers I care no more for, than I do for heav'n, So I were not his sister:] The second line has not the least glimmering of sense. Helen, by the indulgence and invitation of her mistress, is encouraged to discover the hidden cause of her grief; which is the love of her mistress's son; and taking hold of her mistress's words, where she bids her call her mother, she unfolds the mystery: and, as she is discovering it, emboldens herself by this reflexion, in the line in question, as it ought to be read in a parenthesis, (I can no more fear, than I do fear heav'n,) i. e. I can no more fear to trust so indulgent a mistress with the secret than I can fear heav'n who has my vows for its happy issue. This break, in her discovery, is exceeding pertinent and fine. Here again the Oxford Editor does his part.

Note return to page 27 [9] 9 The mystery of your loveliness,] We should read loneliness, or delight in solitude, as is the humour of lovers.

Note return to page 28 [1] 1 &lblank; supposed aid,] supposed for propping, supporting.

Note return to page 29 [2] 2 &lblank; the schools Embowell'd of their doctrine, &lblank;] the expression is beautifully satirical, and implies, that the theories of the schools are spun out of the bowels of the professors, like the cobwebs of the spider.

Note return to page 30 [3] 3 There's something in't More than my father's skill &lblank; &lblank; that his good receipt, &c.] Here is an inference, [that] without any thing preceeding, to which it refers, which makes the sentence vicious, and shews that we should read, There's something hints More than my father's skill, &lblank; &lblank; that his good receipt &lblank; i. e. I have a secret premonition or presage.

Note return to page 31 [1] 1 &lblank; let higher Italy (Those bated, that inherit but the Fall Of the last Monarchy;) see, &c.] This is obscure. Italy, at the time of this scene, was under three very different tenures. The emperor, as successor of the Roman emperors, had one part; the pope, by a pretended donation from Constantine, another; and the third was compos'd of free states. Now by the last monarchy is meant the Roman, the last of the four general monarchies. Upon the fall of this monarchy, in the scramble, several cities set up for themselves, and became free states: now these might be said properly to inherit the fall of the monarchy. This being premised, let us now consider sense. The King says, higher Italy;—giving it the rank of preference to France; but he corrects himself and says, I except those from that precedency, who only inherit the fall of the last monarchy; as all the little petty states; for instance, Florence to whom these voluntiers were going. As if he had said, I give the place of honour to the emperor and the pope, but not to the free states.

Note return to page 32 [2] 2 they wear themselves in the cap of the time, there, do muster true gate, &c.] The main obscurity of this passage arises from the mistake of a single letter. We should read, instead of, do muster, to muster.—To wear themselves in the cap of the time, signifies to be the foremost in the fashion: the figurative allusion is to the galantry then in vogue, of wearing jewels, flowers, and their mistress's favours in their caps.—there to muster true gate, signifies to assemble tegether [Subnote: for tegether read together.] in the high road of the fashion. All the rest is intelligible and easy.

Note return to page 33 [3] 3 &lblank; her years, profession,] By profession is meant her declaration of the end and purpose of her coming.

Note return to page 34 [4] 4 Myself against the level of mine aim;] i. e. pretend to greater things than befits the mediocrity of my condition.

Note return to page 35 [5] 5 Methinks, in thee some blessed spirit doth speak His powerful sound, within an organ weak;] To speak a sound is a barbarism: For to speak signifies to utter an articulate sound, i. e. a voice. So Shakespear, in Love's Labour Lost, says with propriety, And when love speaks the voice of all the Gods. To speak a sound therefore is improper, tho' to utter a sound is not; because the word utter may be applied either to an articulate or inarticulate. Besides, the construction is vicious with the two ablatives, in thee, and, within an organ weak. The lines therefore should be thus read and pointed. Methinks, in thee some blessed spirit doth speak: His power full sounds within an organ weak. But the Oxford Editor would be only so far beholden to this emendation, as to enable him to make sense of the lines another way, whatever become of the rules of criticism or ingenuous dealing. It powerful sounds within an organ weak.

Note return to page 36 [6] 6 Youth, Beauty, wisdom, courage, all] The verse wants a foot. virtue, by mischance, has dropt out of the line.

Note return to page 37 [7] 7 King. Make thy demand. Hel. But will you make it even! King. Ay, by my scepter and my hopes of help.] The King could have but a very slight hope of help from her, scarce enough to swear by: and therefore Helen might suspect he meant to equivocate with her. Besides, observe, the greatest part of the scene is strictly in rhyme, and there is no shadow of reason why it should be interrupted here. I rather imagine the poet wrote, Ay, by my scepter, and my hopes of heaven. Dr. Thirlby.

Note return to page 38 [8] 8 With any branch or image of thy state:] Shakespear unquestionably wrote impage, grafting. Impe a graff, or slip, or sucker: by which she means one of the sons of France. So Caxton calls our Prince Arthur, that noble impe of fame.

Note return to page 39 [9] 9 O lord, Sir,] A ridicule on that foolish expletive of speech then in vogue at court.

Note return to page 40 [1] 1 unknown fear.] Unknown for supernatural.

Note return to page 41 [2] 2 Par. So I say, both of Galen and Paracelsus. Laf. Of all the learned and authentick fellows.] Shakespear, as I have often observed, never throws out his words at random. Paracelsus, tho' no better than an ignorant and knavish enthusiast was at this time in such vogue, even amongst the learned, that he had almost justled Galen and the ancients out of credit. On this account learned is applied to Galen; and authentick or fashionable to Paracelsus. Sancy, in his Confession Catholique, p. 301. Ed. Col. 1720, is made to say, Je trouve la Riviere premier Medecin, de meilleure humeur que ces gens-la. Il est bon Galeniste, & tres bon Paracelsiste. Il dit que la doctrine de Galien est honorable, & non mesprisable pour la pathologie, & profitable pour les Boutiques. L'autre, pourveu que ce soit de vrais preceptes de Paracelse, est bonne à suivre pour la verité, pour la subtilité, pour l'espargne; en somme pour la Therapeutique.

Note return to page 42 [3] 3 A shewing of a heav'nly effect, &c.] The title of some pamphlet here ridiculed.

Note return to page 43 [4] 4 which should, indeed, give us a farther use to be made, &c.] Between the words us and a farther, there seems to have been two or three words dropt, which appear to have been to this purpose—should, indeed, give us [notice, that there is of this,] a farther use to be made—so that the passage should be read with asterisks for the future.

Note return to page 44 [5] 5 Let the white death sit on thy cheek for ever,] Shakespear, I think, wrote dearth; i. e. want of blood, or more figuratively barrenness, want of fruit or issue.

Note return to page 45 [6] 6 And to imperial Love,] The old editions read impartial, which is right. Love who has no regard to difference of condition, but yokes together high and low, which was her case.

Note return to page 46 [7] 7 There's one grape yet, &lblank;] I have here regulated the speeches as they ought to be.

Note return to page 47 [a] [(a) &lblank; when, Dr. Thirlby—vulg whence.]

Note return to page 48 [8] 8 &lblank; good alone, Is good without a name. Vileness is so:] The text is here corrupted into nonsense. We should read &lblank; good alone Is good; and, with a name, vileness is so. i. e. good is good, tho' there be no addition of title; and vileness is vileness, tho' there be. The Oxford Editor, understanding nothing of this, strikes out vileness and puts in its place, in'tself.

Note return to page 49 [9] 9 &lblank; She is young, wise, fair; In these, to nature she's immediate heir; And these breed honour; &lblank;] The objection was, that Helen had neither riches nor title: To this the King replies, she's the immediate heir of nature, from whom she inherits youth, wisdom, and beauty. The thought is fine. For by the immediate heir to nature, we must understand one who inherits wisdom and beauty in a supreme degree. From hence it appears that young is a faulty reading, for that does not, like wisdom and beauty, admit of different degrees of excellence; therefore she could not, with regard to that, be said to be the immediate heir of nature; for in that she was only joint-heir with all the rest of her species. Besides, tho' wisdom and beauty may breed honour, yet youth cannot be said to do so. On the contrary, it is age which has this advantage. It seems probable that some foolish player when he transcribed this part, not apprehending the thought, and wondring to find youth not reckoned amongst the good qualities of a woman when she was proposed to a lord, and not considering that it was comprised in the word fair, foisted in young, to the exclusion of a word much more to the purpose. For I make no question but Shakespear wrote, &lblank; She is good, wise, fair. For the greatest part of her encomium turned upon her virtue. To omit this therefore in the recapitulation of her qualities, had been against all the rules of good speaking. Nor let it be objected that this is requiring an exactness in our author which we should not expect. For he who could reason with the force our author doth here, (and we ought always to distinguish between Shakespear on his guard and in his rambles) and illustrate that reasoning with such beauty of thought and propriety of expression, could never make use of a word which quite destroyed the exactness of his reasoning, the propriety of his thought, and the elegance of his expression.

Note return to page 50 [1] 1 Commas and points here set exactly right by Mr. Theobald.

Note return to page 51 [a] [(a) &lblank; defend, Mr. Theobald—vulg. defeat.]

Note return to page 52 [2] 2 The praised of the King;] We should read prised, i. e. valued, held in estimation, and answers to most base in the preceding line.

Note return to page 53 [3] 3 for doing I am past; as I will by thee, in what motion age will give me leave.] Here is a line lost after past; so that it should be distinguished by a break with asterisks. The very words of the lost line it is impossible to retrieve; but the sense is obvious enough. For doing I am past; age has deprived me of much of my force and vigour, yet I have still enough to shew the world I can do myself right, as I will by thee, in what motion [or in the best manner] age will give me leave.

Note return to page 54 [4] 4 Well, thou hast a son shall take this disgrace off me;] This the poet makes Parolles speak alone; and this is nature. A coward would try to hide his poltroonry even from himself.—An ordinary writer would have been glad of such an opportunity to bring him to confession.

Note return to page 55 [5] 5 shakes out his master's undoing:] We should read speaks out. This is to prepare us for Parolles's disgrace.

Note return to page 56 [6] 6 And pleasure drown the brim.] Metaphor taken from an overflowing cup. It is one of the boldest and noblest expressions in all Shakespear.

Note return to page 57 [7] 7 You have made shift to run into't, boots and spurs and all, like him that leapt into the custard.] It was a foolery practis'd at city-entertainments, whilst the Jester or Zany was in vogue, for him to jump into a large deep custard: set for the purpose. Mr. Theobald.

Note return to page 58 [1] 1 &lblank; an outward man,] i. e. one not in the secret of affairs.

Note return to page 59 [2] 2 By self-unable motion;] We should read notion.

Note return to page 60 [3] 3 When thou can'st get the ring, upon my finger,] i. e. When thou canst get the ring, which is on my finger, into thy possession. The Oxford Editor, who took it the other way, to signify, when thou canst get it on upon my finger, very sagaciously alters it to, When thou canst get the ring from my finger.

Note return to page 61 [4] 4 a deal of that too much, which holds him much to have.] That is, his vices stand him in stead. Helen had before deliver'd this thought in all the beauty of expression. &lblank; I know him a notorious lyar; Think him a great way fool, solely a coward; Yet these fixt evils sit so fit in him, That they take place, while virtue's steely bones Look bleak in the cold wind &lblank; But the Oxford Editor reads, Which 'hoves him not much to have.

Note return to page 62 [5] 5 &lblank; move the still-piercing air, That sings with piercing &lblank;] The words are here odly shuffled into nonsense. We should read, &lblank; pierce the still moving air, That sings with piercing, &lblank; i. e. pierce the air, which is in perpetual motion, and suffers no injury by piercing.

Note return to page 63 [6] 6 are not the things they go under;] Mr. Theobald explains these words by, They are not really so true and since reas in appearance they seem to be. He found something like this sense would fit the passage, but whether the words would fit the sense he seems not to have considered. The truth is, the negative particle should be struck out, and the words read thus, are the things they go under; i. e. they make use of oaths, promises, &c. to facilitate their design upon us. The allusion is to the military use of cover'd-ways, to facilitate an approach or attack; and the Scene, which is a besieged city, and the persons spoken of who are soldiers, make the phrase very proper and natural. The Oxford Editor has adopted this correction, tho' in his usual way, with a but; and reads, are but the things they go under.

Note return to page 64 [7] 7 no further known, but the modesty which is so lost.] Mariana advises Diana not to believe young soldiers' oaths and promises; shews her the mischiefs attendant on the loss of honour; and concludes, that she ought to be careful to preserve that, tho' she were sure she should feel no other ill consequence than only the loss of her modesty. From hence it appears we should read, no further danger found, but the modesty which is so lost. Not only on account of the antithesis restored by the word found, which refers to lost, a thing which in Shakespear's writing is not to be overlooked, but principally because the question here is not concerning the bare knowledge of the consequences of a woman's losing her honour, but concerning Diana's experience of this matter in her own case; with which the reading here proposed can only agree.

Note return to page 65 [8] 8 &lblank; meer the truth] We should read, meerlye truth, i. e certainly. So Sir Thomas Moore, &lblank; that we may merelye meet in heaven.

Note return to page 66 [9] 9 Oar spelt right by Mr. Theobald.

Note return to page 67 [1] 1 John Drum's entertainment,] Holingshed, in his description of Ireland, speaking of Patrick Scarsefield, (mayor of Dublin in the year 1551,) and of his extravagant hospitality, subjoins, that no guest had ever a cold or forbidding look from any part of his family: so that his porter, or any other Officer, durst not, for both his ears, give the simplest man, that resorted to his house, Tom Drum's entertainment, which is, to hale a man in by the head, and thrust him out by both the shoulders. Mr. Theobald.

Note return to page 68 [2] 2 I will presently pen down my Dilemmas,] By this word, Parolles is made to insinuate that he had several ways, all equally certain, of recovering this Drum. For a Dilemma is an argument that concludes both ways.

Note return to page 69 [3] 3 possibility of thy soldiership,] dele thy: the sense requires it.

Note return to page 70 [4] 4 But I shall lose the grounds I work upon] i. e. By discovering herself to the count.

Note return to page 71 [5] 5 Is wicked meaning in a lawful deed; And lawful meaning in a lawful act;] To make this gingling riddle complete in all its parts, we should read the second line thus, And lawful meaning in a wicked act; The sense of the two lines is this, It is a wicked meaning because the woman's intent is to deceive; but a lawful deed, because the man enjoys his own wife. Again, it is a lawful meaning because done by her to gain her husband's estranged affection, but it is a wicked act because he goes intentionally to commit adultery. The riddle concludes thus, Where both not sin and yet a sinful fact. i. e. Where neither of them sin, and yet it is a sinful fact on both sides; which conclusion, we see, requires the emendation here made.

Note return to page 72 [1] 1 and buy myself another of Bajazet's mule,] We should read, Bajazet's mute, i. e. a Turkish mute. So in Henry V. Either our history shall with full mouth Speak freely of our acts; or else our grave, Like turkish mute, shall have a tongueless mouth.

Note return to page 73 for I read I'll.

Note return to page 74 [2] 2 What is not holy, that we swear not by,] Yes, nothing is more common than such kind of oaths. But Diana is not here accusing Bertram for swearing by a Being not holy, but for swearing to an unholy purpose; as is evident from the preceeding lines, 'Tis not the many oaths, that make the Truth; But the plain simple vow, that is vow'd true. The line in question, therefore, is evidently corrupt, and should be read thus. What is not holy, that we swear, not 'bides, i. e. If we swear to an unholy purpose the oath abides not, but is dissolved in the making. This is an answer to the purpose. She subjoins the reason two or three lines after, &lblank; this has no holding, To swear by him, whom I protest to love, That I will work against him. &lblank; i. e. That oath can never hold, whose subject is to offend and displease that Being, whom, I profess, in the act of a swearing by him, to love and reverence.—What may have misled the editors into the common reading was, perhaps, mistaking Bertram's words above, By love's own sweet constraint,—to be an oath; whereas it only signifies, being constrained by love.

Note return to page 75 [1] 1 &lblank; Since Frenchmen are so braid, Marry that will, I'll live and die a Maid;] What! because Frenchmen were false, she, that was an Italian, would marry nobody. The text is corrupted; and we should read, &lblank; Since Frenchmen are so braid, Marry 'em that will, I'll [Subnote: for I'll read I'd.] live and die a maid. i. e. since Frenchmen prove so crooked and perverse in their manners let who will marry them, I had rather live and die a maid, than venture upon them. This she says with a view to Helen, who appeared so fond of her husband, and went thro' so many difficulties to obtain him.

Note return to page 76 [4] 4 bring forth this counterfeit module;] This epithet is improper to a module, which professes to be the counterfeit of another thing. We should read medal. And this the Oxford Editor follows.

Note return to page 77 [5] 5 my motive] motive for assistant.

Note return to page 78 [6] 6 When saucy trusting of the cozen'd thoughts Defiles the pitchy night;] i. e. makes the person guilty of intentional adultery. But trusting a mistake cannot make any one guilty. We should read, and point, the lines thus, When fancy, trusting of the cozen'd thoughts, Defiles the pitchy night. i. e. the fancy, or imagination, that he lay with his mistress, tho' it was, indeed, his Wife, made him incur the guilt of adultery. Night, by the ancients, was reckoned odious, obscene, and abominable. The Poet, alluding to this, says, with great beauty, Defiles the pitchy night. i. e. makes the night, more than ordinary, abominable.

Note return to page 79 [7] 7 But with the word, the time will bring on summer,] With the word, i. e. in an instant of time. The Oxford Editor reads (but what he means by it I know not) Bear with the word.

Note return to page 80 [8] 8 Our waggon is prepar'd, and time revives us;] The word Revives conveys so little sense, that it seems very liable to suspicion. &lblank; and time revyes us; i. e. looks us in the face, calls upon us to hasten.

Note return to page 81 [9] 9 whose villainous saffron would have made all the unbak'd and dowy youth of a nation in his colour.] Parolles is represented as an affected follower of the fashion, and an encourager of his master to run into all the follies of it; where he says, Use a more spacious ceremony to the noble Lords—they wear themselves in the cap of time—and tho' the Devil lead the measure, such are to be followed. Here some particularities of fashionable dress are ridiculed. Snipt-taffata needs no explanation; but villainous saffron is more obscure. This alludes to a phantastic fashion, then much followed, of using yellow starch for their bands and ruffs. So Fletcher, in his Queen of Corinth, &lblank; Has he familiarly Dislik'd your yellow starch; or said your doublet Was not exactly frenchified &lblank; And Johnson's Devil's an Ass. Carmen and chimny-sweepers are got into the yellow starch. This was invented by one Turner, a 'tire-woman, a court-bawd; and, in all respects, of so infamous a character, that her invention deserved the name of villainous saffron. This woman was, afterwards, amongst the miscreants concerned in the murder of Sir Thomas Overbury, for which she was hanged at Tyburn, and would die in a yellow ruff of her own invention: which made yellow starch so odious, that it immediately went out of fashion. 'Tis this, then, to which Shakespear alludes: but using the word saffron for yellow, a new idea presented it self, and he pursues his thought under a quite different allusion—Whose villainous saffron would have made all the unbaked and dowy youths of a nation in his colour, i. e. of his temper and disposition. Here the general custom of that time, of colouring paste with saffron, is alluded to. So in the Winter's Tale: I must have saffron to colour the warden pyes.

Note return to page 82 [1] 1 more advanced by the King,] A notable observation this; that the young Lord had been higher advanced by the King had he staid at court, than he was by his beggerly follower Parolles. We should read, more advantaged, i. e. the King would have been a better tutor to the raw young man than Parolles, whose profession it was.

Note return to page 83 [2] 2 his phis'nomy is more hotter in France than there.] This is intolerable nonsense. The stupid Editors, because the Devil was talked of, thought no quality would suit him but hotter. We should read,—more honour'd. A joke upon the French people, as if they held a dark complexion, which is natural to them, in more estimation than the English do, who are generally white and fair.

Note return to page 84 [3] 3 I'm a woodland fellow, Sir, &c.] Shakespear is but rarely guilty of such impious trash. And it is observable, that then he always puts that into the mouth of his fools, which is now grown the characteristic of the fine-gentleman.

Note return to page 85 [4] 4 It rejoices me, that I hope I shall see him ere I die.] It is not hope that rejoices any one; but, that that hope is well grounded. We should read, therefore, It rejoices me, that hope, that I shall see him ere I die.

Note return to page 86 [5] 5 But it is your carbonado'd face.] Mr. Pope reads it carbinado'd, which is right. The joke, such as it is, consists in the allusion to a wound made with a carabine; arms, which Henry IV. had made famous, by bringing into use amongst his horse.

Note return to page 87 [1] 1 but I am now, Sir, muddied in fortune's Mood, and smell somewhat strong of her strong displeasure.] I believe the poet wrote, in fortune's moat; because the Clown in the very next speech replies, I will henceforth eat no fish of fortune's butt'ring; and again, when he comes to repeat Parolles's petition to Lafeu, that hath fall'n into the unclean fishpond of her displeasure, and, as he says, is muddied withal. And again, Pray you, Sir, use the carp as you may, &c. In all which places, 'tis obvious a moat or pond is the allusion. Besides, Parolles smelling strong, as he says, of fortune's strong displeasure, carries on the same image; for as the moats round old seats were always replenish'd with fish, so the Clown's joke of holding his nose, we may presume, proceeded from this, that the privy was always over the moat; and therefore the Clown humourously says, when Parolles is pressing him to deliver his letter to Lord Lafeu, Foh! pr'ythee, stand away; a paper from fortune's closestool, to give to a Nobleman!

Note return to page 88 [2] 2 Indeed, Sir, if your metaphor stink, I will stop my nose against any man's metaphor.] Nothing could be conceived with greater humour, or justness of satire, than this speech. The use of the stinking metaphors is an odious fault, which grave writers often commit. It is not uncommon to see moral declaimers against vice, describe her as Hesiod did the Fury Tristitia: &grT;&grhc;&grst; &gres;&grk; &grrr;&gria;&grn;&grw;&grn; &grm;&grua;&grc;&gra;&gri; &grrr;&grea;&gro;&grn;. Upon which Longinus justly observes, that, instead of giving a terrible image, he has given a very nasty one. Cicero cautions well against it, in his book de Orat. Quoniam hæc, says he, vel summa laus est in verbis transferendis ut sensum feriat id, quod translatum sit, fugienda est omnis turpitudo earum rerum, ad quas eorum animos qui audiunt trahet similitudo. Nolo morte dici Africani castratam esse rempublicam. Nolo stercus curiæ dici Glauciam. Our poet himself is extremely delicate in this respect; who, throughout his large writings, if you except a passage in Hamlet, has scarce a metaphor that can offend the most squeamish reader.

Note return to page 89 [3] 3 I pity his distress in my smiles of comfort,] We should read, similies of comfort, such as the calling him fortune's cat, carp, &c.

Note return to page 90 [4] 4 &lblank; our esteem] Esteem is here used for estimation, in the sense of worth, estate.

Note return to page 91 [5] 5 Natural rebellion, done i'th' blade of youth,] The whole figure here employ'd shews we should read, &lblank; i' th' blaze of youth, i. e. in fervour, flame. So in Troilus and Cressida, For Hector, in his blaze of wrath, subscribes To tender objects &lblank;

Note return to page 92 [6] 6 Scorn'd a fair colour, or express'd it stoll'n;] First, it is to be observed, that this young man's case was not indifference to the sex in general, but a very strong attachment to one; therefore he could not scorn a fair colour, for it was that which had captivated him. But he might very naturally be said to do what men, strongly attach'd to one, commonly do, not allow beauty in any face but his mistress's. And that this was the thought here, is evident, 1. From the latter part of the verse, &lblank; or express'd it stoll'n; 2. From the preceeding verse, Which warp'd the line of every other favour; 3. From the following verses, Extended or contracted all proportions To a most hideous object: &lblank; Secondly, It is to be observed, that he describes his indifference for others in highly figurative expressions. Contempt is brought in lending him her perspective-glass, which does its office properly by warping the lines of all other faces; by extending or contracting into a hideous object; or by expressing or shewing native red and white as paint. But with what propriety of speech can this glass be said to scorn, which is an affection of the mind? Here then the metaphor becomes miserably mangled; but the foregoing observation will lead us to the genuine reading, which is, Scorch'd a fair colour, or express'd it stoll'n; i. e. this glass represented the owner as brown or tanned; or, if not so, caused the native colour to appear artificial. Thus he speaks in character, and consistently with the rest of his speech. The emendation restores integrity to the figure, and, by a beautiful thought, makes the scornful perspective of contempt do the office of a burning-glass.

Note return to page 93 [7] 7 Make trivial price of serious things &lblank;] Serious for valuable. In this sense a certain Prebendary of Westminster understood the word, when he used to tell his friends, A shilling was a serious thing.

Note return to page 94 [8] 8 &lblank; then if you know, That you are well acquainted with yourself,] i. e. then if you be wise. A strange way of expressing so trivial a thought!

Note return to page 95 [9] 9 Who hath for four or five removes come short] We should read, Who hath some four or five removes come short. So in King Lear, For that I am some twelve or fourteen moonshines Lag of a brother, &lblank;

Note return to page 96 [1] 1 &lblank; diet me. &lblank;] i. e. use me harshly. A phrase taken from the severe methods taken in curing the venereal disorder.

Note return to page 97 [1] 1 &lblank; that, surfeiting The appetite may sicken, and so die.] There is an impropriety of expression in the present reading of this fine passage. We do not say, that the appetite sickens and dies thro' a surfeit; but the subject of that appetite. I am persuaded, a word is accidentally dropt; and that we should read, and point, the passage thus, &lblank; that, surfeiting The app'tite, love may sicken, and so die.

Note return to page 98 [2] 2 That strain again;—it had a dying fall: O! it came o'er my ear, like the sweet south, That breathes upon a bank of violets, Stealing and giving odour &lblank;] Amongst the beauties of this charming similitude, its exact propriety is not the least. For, as a south wind, while blowing over a violet-bank, wafts away the odour of the flowers, it, at the same time, communicates its own sweetness to it; so the soft affecting musick, here described, tho' it takes away the natural, sweet, tranquillity of the mind, yet, at the same time, it communicates a new pleasure to it. Or, it may allude to another property of musick, where the same strains have a power to excite pain or pleasure, as the state is, in which it finds the hearer. Hence Milton makes the self-same strains of Orpheus proper to excite both the affections of mirth and melancholy, just as the mind is then disposed. If to mirth, he calls for such musick, That Orpheus' self may heave his head From golden slumbers on a bed Of heapt Elysian flowers, and hear Such strains as would have won the ear Of Pluto, to have quite set free His half-regain'd Eurydice. L'allegro. If to melancholy &lblank; Or bid the soul of Orpheus sing Such notes as warbled to the string, Drew iron tears down Pluto's cheek, And made Hell grant what love did seek. Il penseroso.

Note return to page 99 [3] 3 So full of shapes is fancy, That it alone is high fantastical.] This complicated nonsense should be rectified thus, So full of shapes in fancy, That it alone is hight fantastical, i. e. love is so full of shapes in fancy, that the name of fantastical is peculiarly given to it alone. But, for the old nonsense, the Oxford Editor gives us his new. &lblank; So full of shapes is fancy, And thou all o'er art high fantastical, Says the Critic.

Note return to page 100 [4] 4 these sov'reign thrones &lblank;] We should read three sov'reign thrones. This is exactly in the manner of Shakespear. So, afterwards, in this play, Thy tongue, thy face, thy limbs, actions, and spirit, do give thee fivefold blazon.

Note return to page 101 [5] 5 her sweet perfections!] We should read, and point it thus, (O sweet perfection!)

Note return to page 102 [6] 6 Castiliano vulgo;] We should read volto. In English, put on your Castilian countenance; that is, your grave, solemn looks. The Oxford Editor has taken my emendation: But, by Castilian countenance, he supposes is meant most civil and courtly looks. It is plain, he understands gravity and formality to be civility and courtliness.

Note return to page 103 [7] 7 thou seest, it will not cool my nature.] We should read, it will not curl by nature. The joke is evident.

Note return to page 104 [8] 8 and yet I will not compare with an old man.] This is intended as a satire on that common vanity of old men, in preferring their own times, and the past generation, to the present.

Note return to page 105 [9] 9 Now Mercury indue thee with leasing, for thou speak'st well of fools!] This is a stupid blunder. We should read, with pleasing, i. e. with eloquence, make thee a gracious and powerful speaker, for Mercury was the God of orators as well as cheats. But the first Editors, who did not understand the phrase, indue thee with pleasing, made this foolish correction; more excusable, however, than the last Editor's, who, when this emendation was pointed out to him, would make one of his own; and so in his Oxford edition, reads, with learning; without troubling himself to satisfy the reader how the first editor should blunder in a word so easy to be understood as learning, tho' they well might in the word pleasing, as it is used in this place.

Note return to page 106 [1] 1 Tis a gentleman. Here, &lblank;] He had before said it was a gentleman. He was asked what gentleman? and he makes this reply; which, it is plain, is corrupt, and should be read thus, 'Tis a Gentleman-heir, i. e. some lady's eldest son just come out of the nursery; for this was the appearance Viola made in mens clothes. See the character Malvolio draws of him presently after.

Note return to page 107 [2] 2 stand at your door like a Sheriff's post,] It was the custom for that officer to have large posts set up at his door, as an indication of his office. The original of which was, that the King's proclamations, and other publick acts, might be affixed thereon by way of publication. So Johnson's Every man out of his humour, &lblank; put off To the Lord Chancellor's tomb, or the Shrives posts. So again in the old play called Lingua, Knows he how to become a scarlet gown, hath he a pair of fresh posts at his door?

Note return to page 108 [3] 3 I am very comptible,] Comptible for ready to call to account.

Note return to page 109 [4] 4 Vio. &lblank; tell me your mind, I am a messenger.] These words must be divided between the two speakers thus, Oli. Tell me your mind. Vio. I am a messenger. Viola growing troublesome, Olivia would dismiss her, and therefore cuts her short with this command, Tell me your mind. The other taking advantage of the ambiguity of the word mind, which signifies either business or inclinations, replies as if she had used it in the latter sense, I am a messenger.

Note return to page 110 [5] 5 Look you, Sir, such a one I was this present: is't not well done?] This is nonsense; we should read I wear: The correction, I think, clears all up, and gives the expression an Air of Gallantry. Viola presses to see Olivia's face; the other at length pulls off her veil, and says, we will draw the curtain and shew you the picture. I wear this complexion to-day, I may wear another to-morrow; jocularly intimating, that she painted. The other, vext at the jest, says, Excellently done, if God did all. Perhaps it may be true what you say in jest, otherwise 'tis an excellent face. 'Tis in grain, &c. replies Olivia.

Note return to page 111 [1] 1 [with such estimable wonder] An interpolation of the players.

Note return to page 112 [2] 2 &lblank; her eyes had lost her tongue;] This is nonsense: we should read, &lblank; her eyes had crost her tongue; Alluding to the notion of the fascination of the eyes; the effects of which were called crossing.

Note return to page 113 [3] 3 I think, it rather consists of eating and drinking.] A ridicule on the medical theory of that time, which supposed health to consist in the just temperament and balance of these elements in the human frame.

Note return to page 114 [4] 4 In delay there lies no plenty:] This is a proverbial saying corrupted; and should be read thus, In decay there lies no plenty. A reproof of avarice, which stores up perishable fruits till they decay. To these fruits the Poet, humorously, compares youth or virginity; which, he says, is a stuff will not endure.

Note return to page 115 [5] 5 draw three souls out of one weaver?] Our Author represents weavers as much given to harmony in his time. I have shewn the cause of it elsewhere. This expression of the power of musick, is familiar with our Author. Much ado about nothing. Now it is [Subnote: for it is read is his.] soul ravished. Is it not strange that Sheep's-guts should hale souls out of men's bodies?—Why, he says, three souls, is, because he is speaking of a catch in three parts. And the peripatetic philosophy, then in vogue, very liberally gave every man three souls. The vegetative or plastic, the animal, and the rational. To this, too, Johnson alludes, in his Poetaster; What, will I turn sharke upon my friends? or my friends friends? I scorn it with with my three souls. By the mention of these three, therefore, we may suppose it was Shakespear's purpose, to hint to us those surprising effects of musick, which the antients speak of. When they tell us of Amphion, who moved stones and trees; Orpheus and Arion, who tamed savage beasts, and Timotheus, who governed, as he pleased, the passions of his human auditors. So noble an observation has our Author conveyed in the ribaldry of this buffoon character.

Note return to page 116 [6] 6 coziers catches] Cottiers. Rustick, clownish.

Note return to page 117 [7] 7 an affectioned ass] Affectioned, for full of affectation.

Note return to page 118 [8] 8 recollected terms] Recollected, for studied.

Note return to page 119 [9] 9 in all motions else,] The Folio reads notions, which is right.

Note return to page 120 [1] 1 It gives a very echo to the seat Where love is thron'd.] We should read, from the seat: i. e. it reaches the throne of love, and reverberates thence.

Note return to page 121 [2] 2 And dallies with the innocence of love,] Dallies has no sense. We should read, tallies, i. e. agrees with; is of a piece with.

Note return to page 122 [3] 3 a very opal!] A precious stone of almost all colours. Mr. Pope.

Note return to page 123 [4] 4 that their business might be every thing, and their intent every where;] Both the preservation of the antithesis, and the recovery of the sense, require we should read,—and their intent no where. Because a man who suffers himself to run with every wind, and so makes his business every where, cannot be said to have any intent; for that word signifies a determination of the mind to something. Besides, the conclusion of making a good voyage out of nothing, directs to this emendation.

Note return to page 124 [5] 5 But 'tis that miracle, and Queen of Gems, That nature pranks her in, &lblank;] What is that miracle, and Queen of Gems? we are not told in this reading. Besides, what is meant by nature pranking her in a miracle?—We should read, But 'tis that miracle, and Queen of Gems, That nature pranks, her mind, &lblank; i. e. what attracts my soul, is not her Fortune, but her Mind, that miracle, and Queen of Gems that nature pranks, i. e. sets out, and adorns.

Note return to page 125 [6] 6 It cannot be so answer'd] We should read I; the reply shews it.

Note return to page 126 [7] 7 She sat like patience on a monument, Smiling at grief.] Mr. Theobald supposes this might possibly be borrowed from Chaucer. And her besidis wonder discretlie, Dame Pacience ysittinge there I fonde With facé pale, upon an hill of sonde. And adds, If he was indebted, however, for the first rude draught, how amply has he repaid that debt, in heightning the picture! How much does the green and yellow melancholy transcend the old bard's pale face; the monument his hill of sand.—I hope this Critick does not imagine Shakespear meant to give us a picture of the face of Patience, by his green and yellow melancholy; because, he says, it transcends the pale face of Patience given us by Chaucer. To throw Patience into a fit of melancholy, would be indeed very extraordinary. The green and yellow then belonged not to Patience, but to her who sat like Patience. To give Patience a pale face, was proper: and had Shakespear described her, he had done it as Chaucer did. But Shakespear is speaking of a marble statue of Patience; Chaucer, of Patience herself. And the two representations of her, are in quite different views. Our Poet, speaking of a despairing lover, judiciously compares her to Patience exercised on the death of friends and relations; which affords him the beautiful picture of Patience on a monument. The old Bard speaking of Patience herself, directly, and not by comparison, as judiciously draws her in that circumstance where she is most exercised, and has occasion for all her virtue; that is to say, under the losses of shipwreck. And now we see why she is represented as sitting on an hill of sand, to design the scene to be the sea-shore. It is finely imagined; and one of the noble simplicities of that admirable Poet. But the Critick thought, in good earnest, that Chaucer's invention was so barren, and his imagination so beggarly, that he was not able to be at the charge of a monument for his Goddess, but left her, like a stroller, sunning herself upon a heap of sand.

Note return to page 127 [8] 8 I'm all the daughters of my fathers' house, And all the brothers too &lblank;] This was the most artful answer that could be given. The question was of such a nature, that to have declined the appearance of a direct answer, must have raised suspicion. This has the appearance of a direct answer, that the sister died of her love; she (who passed for a man) saying, she was all the daughters of her father's house. But the Oxford Editor, a great enemy, as should seem, to all equivocation, obliges her to answer thus, She's all the daughters of my father's house, And I am all the sons &lblank; But if it should be asked now, how the Duke came to take this for an answer to his question, to be sure the Editor can tell us.

Note return to page 128 [9] 9 the Lady of the Strachy] We should read Trachy, i. e. Thrace; for so the old English writers called it. Mandeville says, As Trachye and Macedoigne of the which Alisandre was Kyng. It was common to use the article the before names of places: And this was no improper instance, where the scene was in Illyria.

Note return to page 129 [1] 1 Tho' our silence be drawn from us with cares,] i. e. Tho' it is the greatest pain to us to keep silence. Yet the Oxford Editor has altered it to, Tho' our silence be drawn from us by th' ears. There is some conceit, I suppose, in this, as in many other of his alterations, yet it oft lies so deep that the reader has reason to wish he could have explained his own meaning.

Note return to page 130 [2] 2 What employment have we here?] A phrase of that time, equivalent to our common speech of—What's to do here. The Oxford Editor, not attending to this, alters it to What implement have we here? By which happy emendation, he makes Malvolio to be in the plot against himself; or how could he know that this letter was an implement made use of to catch him?

Note return to page 131 [3] 3 formal capacity] Formal, for common.

Note return to page 132 [4] 4 this simulation] Simulation, for resemblance.

Note return to page 133 [5] 5 with thee. The fortunate and happy day-light and champian discovers no more:] Wrong pointed: We should read,—with thee, the fortunate and happy. Day-light and champian discover no more: i. e. Broad day and an open country cannot make things plainer.

Note return to page 134 [1] 1 a chev'ril glove] A glove made of a kid's skin, from Chevereul, French. Chiaverello, Ital. Caprillus, Lat. Mr. Pope.

Note return to page 135 [2] 2 Here the speeches rectified by Mr. Theobald.

Note return to page 136 [3] 3 most pregnant and vouchsafed ear.] Pregnant, for ready

Note return to page 137 for and he must read and his must.

Note return to page 138 [4] 4 After the last enchantment, you did hear,] Nonsense. Read and point it thus, After the last enchantment you did here, i. e. after the enchantment, your presence worked in my affections.

Note return to page 139 [5] 5 to one of your receiving] i. e. to one of your ready apprehension. She considers him as an arch page.

Note return to page 140 [6] 6 Look, where the youngest wren of nine comes.] The womens parts were then acted by boys, sometimes so low in stature, that there was occasion to obviate the impropriety by such kind of oblique apologies.

Note return to page 141 [a] [(a) &lblank; ever thanks, Mr. Theobald—Vulg. ever oft.]

Note return to page 142 [7] 7 &lblank; see the relicks of this town?] Relicks, for curiosities.

Note return to page 143 [8] 8 he says he'll come;] i. e. I suppose now, or admit now, he says he'll come; which Mr. Theobald, not understanding, alters unnecessarily to, say he will come; in which the Oxford Editor has followed him.

Note return to page 144 [1] 1 I pr'ythee, foolish Greek,] Greek, was as much as to say Bawd or Pander. He understood the Clown to be acting in that office. A bawdy-house was called Corinth, and the frequenters of it Corinthians, which words occur frequently in Shakespear, especially in Timon of Athens, and Henry IVth. See the reason in a note on the former of those plays: Yet the Oxford Editor alters it to Geek.

Note return to page 145 [2] 2 get themselves a good report after fourteen years' purchase.] This seems to carry a piece of satire upon Monopolies, the crying grievance of that time. The Grants generally were for fourteen years; and the petitions being referred to a committee, it was suspected that money gained favourable reports from thence.

Note return to page 146 [3] 3 This ruffian hath botch'd up, &lblank;] i. e. swelled and inflamed. A botch being a swelling or abscess.

Note return to page 147 [4] 4 as to say, a careful man and a great scholar.] This refers to what went before, I am not tall enough to become the function well, nor lean enough to be thought a good student; it is plain then that Shakespear wrote, as to say a graceful man, i. e. comely. To this the Oxford Editor says, rectè.

Note return to page 148 [5] 5 very wittily said &lblank; that that is, is:] This is a very humourous banter of the rules established in the schools, that all reasonings are ex præcognitis & præconcessis, which lay the foundation of every science in these maxims, whatsoever is, is; and it is impossible for the same thing to be and not to be; with much trifling of the like kind.

Note return to page 149 [6] 6 Nay, I am for all waters.] A phrase taken from the actor's ability of making the audience cry either with mirth or grief.

Note return to page 150 [7] 7 I found this credit.] Credit, for account, information. The Oxford Editor roundly alters it to current; as he does almost every word that Shakespear uses in an anomalous signification.

Note return to page 151 [8] 8 &lblank; all instance, all discourse;] Instance, for sense; discourse, for reason.

Note return to page 152 [1] 1 so that conclusions to be as kisses, &lblank;] Tho' it might be unreasonable to call our Poet's fools and knaves every where to account; yet, if we did, for the generality, we should find them responsible. But what monstrous absurdity have we here? the Clown is affecting to argue seriously and in form. I imagine, the Poet wrote; So that, conclusion to be asked, is i. e. so that the conclusion I have to demand of you is this, if your four, &c. He had in the preceding words been inferring some premises, and now comes to the conclusion very logically; you grant me, says he, the premises; I now ask you to grant the conclusion.

Note return to page 153 [2] 2 &lblank; as fat and fulsome] We should read, as flat.

Note return to page 154 [3] 3 Like to th' Egyptian thief, &lblank;] This Egyptian thief was Thyamis. See Heliodorus's Æthiopics. Mr. Theobald.

Note return to page 155 [4] 4 A most extracting frenzy &lblank;] i. e. A frenzy that drew me away from every thing but its own object.

Note return to page 156 [5] 5 &lblank; here were presuppos'd] Presuppos'd, for imposed.

Note return to page 157 [6] 6 When that I was, &c.] This wretched stuff not Shakespear's, but the Players!

Note return to page 158 [1] 1 Was wrought by nature, not by vile offence,] All his hearers understood that the punishment he was about to undergo was in consequence of no private crime, but of the publick enmity between two states, to one of which he belonged: But it was a general superstition amongst the ancients, that every great and sudden misfortune was the vengeance of heaven pursuing men for their secret offences. Hence the sentiment here put into the mouth of the speaker was proper. By my past life, (says he) which I am going to relate, the world may understand that my present death is according to the ordinary course of providence, [wrought by nature] and not the effects of divine vengeance overtaking me for my crimes, [not by vile offence]

Note return to page 159 [2] 2 They say, this town is full of couzenage;] This was the character the ancients give of it. Hence &GREs;&grf;&gre;&grs;&gri;&gra; &grasa;&grl;&gre;&grc;&gri;&grf;&graa;&grr;&grm;&gra;&grk;&gra; was proverbial amongst them. Thus Menander uses it, & &GREs;&grf;&gre;&grs;&gri;&gra; &grg;&grr;&graa;&grm;&grm;&gra;&grt;&gra;, in the same sense.

Note return to page 160 [3] 3 As, nimble jugglers, that deceive the eye; Dark-working sorcerers, that change the mind; Soul-killing witches, that deform the body;] Those who attentively consider these three lines, must confess that the Poet intended, the epithet given to each of these miscreants, should declare the power by which they perform their feats, and which would therefore be a just characteristick of each of them. Thus, by nimble jugglers, we are taught that they perform their tricks by slight of hand: and by soul-killing witches, we are inform'd, the mischief they do is by the assistance of the devil, to whom they have given their souls: But then, by dark-working Sorcerers, we are not instructed in the means by which they perform their ends. Besides, this epithet agrees as well to witches, as to them; and therefore, certainly, our author could not design this in [Subnote: for in read as.] their characteristick. We should read; Drug-working sorcerers, that change the mind; And we know by the history of ancient and modern superstition, that these kind of jugglers always pretended to work changes of the mind by these applications.

Note return to page 161 [1] 1 I see, the jewel, best enameled, Will lose his beauty; yet the gold bides still, That others touch, and often touching will: Where gold and no man, that hath a name, By falshood and corruption doth it shame.] In this miserable condition is this passage given us. It should be read thus, I see, the jewel, best enameled, Will lose his beauty; and the gold bides still, That others touch; yet often touching will Wear gold: and so no man, that hath a name, But falshood, and corruption, doth it shame. The sense is this, “Gold, indeed, will long bear the handling; however, often touching, will wear even gold; just so the greatest character, tho' as pure as gold itself, may, in time, be injured, by the repeated attacks of falshood and corruption.”

Note return to page 162 [2] 2 &lblank; beat this method &lblank;] Method, for instruction.

Note return to page 163 [a] [(a) men, Mr. Theobald—Vulg. them.]

Note return to page 164 for trying read tyring.

Note return to page 165 [3] bI am possess'd with an adulterate blot; My blood is mingled with the crime of lust:] Both the integrity of the metaphor, and the word blot, in the preceding line, shew that we should read, &lblank; with the grime of lust: i. e. the stain, smut. So again in this play,—A man may go over shoes in the grime of it.

Note return to page 166 4 &lblank; you are from me exempt,] Exempt, for estranged.

Note return to page 167 [5] 5 We talk with goblins, owls, and elvish sprights;] Here Mr. Theobald calls out in the name of Nonsense, the first time he had formally invoked her, to tell him how Owls could suck their breath, and pinch them black and blue. He, therefore, alters Owls to Ouphs, and dares say, that his readers will acquiesce in the justness of his emendation. But, for all this, we must not part with the old reading. He did not know it to be an old popular superstition, that the scretch-owl sucked out the breath and blood of infants in the cradle. On this account, the Italians called Witches, who were supposed to be in like manner mischievously bent against children, Strega from Strix, the Scretch-owl. This superstition they had derived from their Pagan ancestors, as appears from this passage of Ovid, Sunt avidæ volucres; non quæ Phineïa mensis   Guttura fraudabant: sed genus inde trahunt. Grande caput: stantes oculi: rostra apta rapinæ:   Canities pennis, unguibus hamus inest. Nocte volant, puerosque petunt nutricis egentes;   Et vitiant cunis corpora rapta suis. Carpere dicuntur lactantia viscera rostris;   Et plenum poto sanguine guttur habent. Est illis strigibus nomen: &lblank; Lib. 6. Fest.

Note return to page 168 [1] 1 &lblank; we shall part with neither.] Common sense requires us to read,—we shall have part with neither.

Note return to page 169 [2] 2 And, in despight of mirth, &lblank;] Mr. Theobald does not know what to make of this; and, therefore, has put wrath instead of mirth into the text, in which he is followed by the Oxford Editor. But the old reading is right; and the meaning is, I will be merry, even out of spite to mirth, which is, now, of all things, the most unpleasing to me.

Note return to page 170 [3] 3 &lblank; buildings, &lblank;] Mr. Theobald has here removed a superfluous letter.

Note return to page 171 [a] [(a) &lblank; but. Mr. Theobald—Vulg. not.]

Note return to page 172 [4] 4 &lblank; in that glorious supposition &lblank;] Supposition, for the thing lain open.

Note return to page 173 [5] 5 a Poland winter:] Folio reads a Lapland winter. Right.

Note return to page 174 [a] [(a) &lblank; her name and, Dr. Thirlby—Vulg. her name is]

Note return to page 175 [6] 6 against her heir. &lblank;] Hen. IV. of France. At that time the League was in arms against him.

Note return to page 176 [7] 7 To conclude, this drudge, or diviner, laid claim to me,] A little lower, he calls her witch. A word is certainly dropt out of the text. We should read, this drudge of the devil, this diviner, &lblank; Drudge of the Devil, is the right pariphrasis for a witch.

Note return to page 177 [8] 8 And, I think, if my breast had not been made of faith, &c.] Alluding to the superstition of the common people, that nothing could resist a witch's power, of transforming men into animals, but a great share of faith: however the Oxford Editor thinks a breast made of flint, better security, and has therefore put it in.

Note return to page 178 [1] 1 &lblank; meteors tilting in his face?] Alluding to those meteors in the sky which have the appearance of lines of armies meeting in the shock. To this appearance he compares civil wars in another place, Which, like the meteors of a troubled heav'n, All of one nature of one substance bred, Did lately meet in the intestine shock And furious close of civil butchery.

Note return to page 179 [a] [(a) &lblank; fury. Mr. Theobald,—Vulg. fairy.]

Note return to page 180 [2] 2 he, that sets up his rest to do more exploits with his mace, than a morris-pike.] Sets up his Rest, is a phrase taken from military exercise. When gunpowder was first invented, its force was very weak compared to that in present use. This necessarily required fire-arms to be of an extraordinary length. As the artists improved the strength of their powder, the soldiers proportionably shortned their arms and artillery; so that the cannon which Froissart tells us was once fifty foot long, was contracted to less than ten. This proportion likewise held in their muskets; so that, till the middle of the last century, the musketeers always supported their pieces when they gave fire, with a Rest stuck before them into the ground, which they called setting up their Rest, and is here alluded to. There is another quibbling allusion too to the serjeant's office of arresting. But what most wants animadversion is the morris-pike, which is without meaning, impertinent to the sense, and false in the allusion; no pike being used amongst the dancers so called, or at least not fam'd for much execution. In a word, Shakespear wrote, a maurice-Pike, i. e. a Pikeman of Prince Maurice's army. He was the greatest general of that age, and the conductor of the Low-country wars against Spain, under whom all the English Gentry and Nobility were bred to the service. Being frequently overborn with numbers, he became famous for his fine Retreats, in which a stand of Pikes is of great service. Hence the Pikes of his army became famous for their military exploits.

Note return to page 181 [3] 3 Mistress, respice finem, respect your end; or rather the prophecie, like the parrot, beware the rope's-end.] These words seem to allude to a famous pamphlet of that time, wrote by Buchanan against the Lord of Liddington; which ends with these words. Respice finem, respice funem. But to what purpose, unless our Author would shew that he could quibble as well in English, as the other in Latin. I confess I know not. As for prophesying like the parrot, this alludes to people's teaching that bird unlucky words; with which, when any passenger was offended, it was the standing joke of the wise owner to say, Take heed, Sir, my parrot prophesies. To this, Butler hints, where, speaking of Ralphos skill in augury, he says, Could tell what subtlest parrots mean, That speak and think contrary clean; What member 'tis of whom they talk. When they cry rope, and walk, knave, walk.

Note return to page 182 [1] 1 It was the Copy of our conference.] We are not to understand this word here, as it is now used, in opposition to an original; any thing done after a pattern; but we are to take it in the nearest sense to the Latin word Copia, from which it is derived. Adriana would say, her reproofs were the burden, the fulness of her conference, all the subject of her talk. And in these acceptations the word Copia was used by Writers before our Author's time, as well as by his contemporaries. Mr. Theobald.

Note return to page 183 [2] 2 Kinsman to grim and comfortless despair?] Shakespear could never make melancholy a male in this line, and a female in the next. This was the foolish insertion of the first Editors. I have therefore put it into hooks, as spurious.

Note return to page 184 [3] 3 And, with his mad attendant and himself,] We should read, &lblank; mad himself.

Note return to page 185 [4] 4 To scorch your face, &lblank;] We should read scotch, i. e. hack, cut.

Note return to page 186 [5] 5 All these old witnesses, I cannot err,] I believe we should read, All these hold witnesses I cannot err, i. e. All these continue to testify that I cannot err, and tell me, &c.

Note return to page 187 [6] 6 &lblank; and go with me:] We should read, &lblank; and gaude with me: i. e. Rejoice, from the French, Gaudir.

Note return to page 188 [1] 1 The Winter's Tale] This play throughout is written in the very spirit of its author. And in telling this homely and simple, tho' agreeable, country tale, Our sweetest Shakespear, fancy's child, Warbles his native wood notes wild. Milton. This was necessary to observe in mere justice to the Play, as the meanness of the fable, and the extravagant conduct of it, had misled some of great name into a wrong judgment of its merit; which, as far as it regards sentiment and character, is scarce inferior to any in the whole collection.

Note return to page 189 [2] 2 The shepherd's note,] i. e. I use the shepherd's reckoning.

Note return to page 190 [3] 3 &lblank; that may blow No sneaping winds at home, &c.] This is nonsense, we should read it thus, &lblank; may there blow, &c. He had said he was apprehensive that his presence might be wanted at home; but, lest this should prove an ominous speech, he endeavours, as was the custom, to avert it by a deprecatory prayer. &lblank; may there blow No sneaping winds—to make us say, This was put forth too truly. &lblank; But the Oxford Editor, rather than be beholden to this correction, alters it to. &lblank; there may blow Some sneaping winds &lblank; and so destroys the whole sentiment.

Note return to page 191 [4] 4 &lblank; I'll give him my commission] We should read, &lblank; I'll give you my commission, The verb let, or hinder, which follows, shews the necessity of it: For she could not say she would give her husband a commission to let or hinder himself. The commission is given to Polixenes, to whom she is speaking, to let or hinder her husband.

Note return to page 192 [5] 5 &lblank; behind the gest] Mr. Theobald says, he can neither trace, nor understand the phrase, and therefore thinks it should be just: But the word gest is right, and signifies a stage or journey. In the time of Royal Progresses the King's stages, as we may see by the journals of them in the Herald's office, were called his gests; from the old French word giste, Diversorium.

Note return to page 193 [6] 6 &lblank; yet, good heed, Leontes,] i. e. yet take good heed, Leontes, to what I say. Which phrase, Mr. Theobald not understanding, he alters it to, good deed.

Note return to page 194 [7] 7 &lblank; th' imposition clear'd, Hereditary ours.] i. e. setting aside original sin; bating the imposition from the offence of our first parents, we might have boldly protested our innocence to heaven.

Note return to page 195 [8] 8 Grace to boot! Of this make no conclusion, lest you say, &c.] Polixenes had said, that since the time of childhood and innocence, temptations had grown to them; for that, in that interval, the two Queens were become women. To each part of this observation the Queen answers in order. To that of temptations she replies, Grace to boot! i. e. tho' temptations have grown up, yet I hope grace too has kept pace with them. Grace to boot, was a proverbial expression on these occasions. To the other part, she replies, as for our tempting you, pray take heed you draw no conclusion from thence, for that would be making your Queen and me devils, &c.

Note return to page 196 [9] 9 With spur we heat an acre. But to th' goal:] Thus this passage has been always pointed; whence it appears, that the Editors did not take the Poet's conceit. They imagined that, But to th' goal, meant, but to come to the purpose; but the sense is different, and plain enough when the line is pointed thus, &lblank; ere With spur we heat an acre, but to th' goal. i. e. good usage will win us to any thing; but, with ill, we stop short, even there where both our interest and our inclination would otherwise have carried us.

Note return to page 197 [1] 1 The most o'th' deer; &lblank;] A lesson upon the horn at the death of the deer. Mr. Theobald.

Note return to page 198 [2] 2 &lblank; 'tis powerful: think it.] After this there are four lines of infamous, senseless ribaldry, stuck in by some profligate player, which I have cashier'd; and hope no learned critick, or fine lady, will esteem this a castrated edition, for our having now and then on the same necessity, and after having given fair notice, taken the same liberty.

Note return to page 199 [3] 3 &lblank; whisp'ring, rounding;] i. e. rounding in the ear, a phrase in use at that time. But the Oxford Editor not knowing that, alters the text to, whisp'ring round.

Note return to page 200 [4] 4 Commas and points set right by Mr. Theobald.

Note return to page 201 [5] 5 &lblank; were sin As deep as that, tho' true.] i. e. Your suspicion is as great a sin as would be that (if committed) for which you suspect her.

Note return to page 202 [6] 6 But with a lingring dram, that should not work, Maliciously, like poison: &lblank;] The thought is here beautifully expressed. He could do it with a dram that should have none of those visible effects that detect the poisoner. These effects he finely calls the malicious workings of poison, as if done with design to betray the user. But the Oxford Editor would mend Shakespear's expression, and reads, &lblank; that should not work Like a malicious poison: &lblank; So that Camillo's reason is quite lost in this happy emendation.

Note return to page 203 [7] 7 To vice you to't, &lblank;] i. e. to draw, persuade you. The character called the Vice, in the old plays, was the Tempter to evil.

Note return to page 204 [a] [(a) this though, Mr. Theobald—Vulg. his thought.]

Note return to page 205 [8] 8 Good expedition be my friend, and comfort The gracious Queen; &lblank;] But how could his expedition comfort the Queen? on the contrary it would increase her Husband's suspicion. We should read, &lblank; and comfort The gracious Queen's; &lblank; i. e. be expedition my friend, and be comfort the Queen's friend. The Oxford Editor has thought fit to paraphrase my correction, and so reads, &lblank; Heaven comfort The gracious Queen; &lblank;

Note return to page 206 [1] 1 He hath discover'd my design, and I Remain a pinch'd thing; &lblank;] Alluding to the superstition of the vulgar, concerning those who were enchanted, and fastened to the spot, by charms superior to their own.

Note return to page 207 [2] 2 &lblank; stable-stand &lblank;] Stable-stand is a term of the forest laws, and signifies a place where a deer-stealer fixes his stand, and keeps watch for the purpose of killing deer as they pass by. Oxford Editor.

Note return to page 208 [3] 3 Honest, as either; &lblank;] i. e. whose subject is the Queen's innocence: otherwise there would be a tautology.

Note return to page 209 [4] 4 And would by combat make her good, so were I A man, the worst about you.] Paulina supposes the King's jealousy to be raised and inflamed by the courtiers about him; who, she finely says, &lblank; creep like shadows by him, and do sigh At each his needless heavings: &lblank; Surely then, she could not say, that were she a man, the worst of these, she would vindicate her mistress's honour against the King's suspicions, in single combat. Shakespear, I am persuaded, wrote, &lblank; so were I A man, on th' worst about you. i. e. were I a man, I would vindicate her honour, on the worst of these sycophants that are about you.

Note return to page 210 [5] 5 &lblank; forced baseness] forced for unnatural.

Note return to page 211 [1] 1 Fertile the isle, &lblank;] But the temple of Apollo at Delphi was not in an island, but in Phocis, on the continent. Either Shakespear, or his Editors, had their heads running on Delos, an island of the Cyclades. If it was the Editor's blunder, then Shakespear wrote, Fertile the soil, &lblank; which is more elegant too, than the present reading.

Note return to page 212 [2] 2 I shall report, For most it caught me, &c.] What will he report? And what means this reason of his report, that the celestial habits most struck his observation? We should read, It shames report. Foremost it caught me, &lblank; Cleomines had just before said, that the Temple much surpassed the common praise it bore. The other, very naturally, replies—it shames report, as far surpassing what report said of it. He then goes on to particularize the wonders of the place: Foremost, or first of all, the priests garments, then their behaviour, their act of sacrifice, &c. in reasonable good order.

Note return to page 213 [3] 3 The time is worth the use on't.] It should be just the reverse, The use is worth the time on't. and this alteration the Oxford Editor approves.

Note return to page 214 [4] 4 &lblank; shew thee of a fool &lblank;] So all the copies. We should read,—shew thee off, a fool,—i. e. represent thee in thy true colours; a fool, an inconstant. &c.

Note return to page 215 [5] 5 This was so, &lblank;] I rather think Shakespear wrote sooth, i. e. a truth, a reality.

Note return to page 216 [6] 6 And then for the land-service,] Every one sees the humour of this military expression of land-service; and how well it is adapted to the character. Yet the Oxford Editor alters it to land-sight.

Note return to page 217 [7] 7 &lblank; and leave the growth untry'd Of that wide gap; &lblank;] The growth of what? The reading is nonsense. Shakespear wrote &lblank; and leave the gulf untry'd, i. e. unwaded thro'. By this means, too, the uniformity of the metaphor is restored. All the terms of the sentence, relating to a Gulf; as swift passage,— slide over—untry'd—wide gap.

Note return to page 218 [1] 1 and my profit therein, the heaping friendships.] This is nonsense. We should read, reaping friendships. The King had said his study should be to reward his friend's deserts; and then concludes, that his profit in this study should be reaping the fruits of his friend's attachment to him; which refers to what he had before said of the necessity of Camillo's stay, or otherwise he could not reap the fruit of those businesses, which Camillo had cut out.

Note return to page 219 [2] 2 but I have (missingly) noted,] We should read, but I have (missing him) noted. This accounts for the reason of his taking note, because he often missed him, that is, wanted his agreeable company. For a compliment is intended; and, in that sense, it is to be understood. The Oxford Editor reads, musingly noted.

Note return to page 220 [3] 3 Why, then comes in the sweet o'th' year; For the red blood reigns in the winter's pale.] I think this nonsense should be read thus, Why, then come in the sweet o'th' year;   'Fore the red blood reins-in the winter pale. i. e. Why then come in, or let us enjoy, pleasure, while the season serves, before pale winter reins-in the red or youthful blood; as much as to say, let us enjoy life in youth, before old age comes and freezes up the blood.

Note return to page 221 [a] [(a) progging—Oxford Edition—Vulg. pugging.]

Note return to page 222 [4] 4 My father nam'd me Autolicus, &c.] Mr. Theobald says, the allusion is unquestionably to Ovid. He is mistaken. Not only the allusion, but the whole speech is taken from Lucian; who appears to have been one of our Poet's favourite authors, as may be collected from several places of his works. It is from his discourse on judicial Astrology, where Autolicus talks much in the same manner; and 'tis only on this account that he is called the son of Mercury by the ancients, namely because he was born under that planet. And as the infant was supposed by the Astrologers to communicate of the nature of the star which predominated, so Autolicus was a thief.

Note return to page 223 [5] 5 my revenue is the silly cheat.] Silly is used by the writers of our author's time, for simple, low, mean; and in this the humour of the speech consists. I don't aspire to arduous and high things, as bridewell or the gallows; I am content with this humble and low way of life, as a snapper up of unconsider'd trifles. But the Oxford Editor, who, by his emendations, seems to have declared war against all Shakespear's humour, alters it to, the sly cheat.

Note return to page 224 [6] 6 with trol-my-dames:] Trou-madame, French. The game of nine-holes.

Note return to page 225 [7] 7 motion of the prodigal son,] i. e. the Puppet-shew, then called Motions. A term frequently occurring in our Author.

Note return to page 226 [8] 8 let me be unroll'd, and my name put into the book of virtue!] Begging gipsies, in the time of our author, were in gangs and companies, that had something of the shew of an incorporated Body. From this noble society he wishes he may be unrolled if he does not so and so.

Note return to page 227 [9] 9 &lblank; sworn, I think, To shew myself a glass.] i. e. one would think that in putting on this habit of a shepherd, you had sworn to put me out of countenance; for in this, as in a glass, you shew me how much below yourself you must descend before you can get upon a level with me. The sentiment is fine, and expresses all the delicacy, as well as humble modesty of the character. But the Oxford Editor alters it to, &lblank; swoon, I think, To shew myself a glass. What he means I don't know. But Perdita was not so much given to swooning, as appears by her behaviour at the King's threats, when the intrigue was discovered.

Note return to page 228 [a] [(a) gold, Oxford Editor—Vulg. bold.]

Note return to page 229 [1] 1 &lblank; I think, you have As little skill to fear &lblank;] To have skill to do a thing was a phrase then in use equivalent to our to have reason to do a thing. The Oxford Editor, ignorant of this, alters it to, As little skill in fear, &lblank; which has no kind of sense in this place.

Note return to page 230 [a] [(a) out. Mr. Theobald—Vulg. on't]

Note return to page 231 [2] 2 &lblank; a worthy feeding;] certainly breeding.

Note return to page 232 [a] [(a) sleeve-band. Oxford Editor—Vulg. sleeve-hand.]

Note return to page 233 [3] 3 Clamour your tongues,] The phrase is taken from ringing. When bells are at the height, in order to cease them, the repetition of the strokes becomes much quicker than before; this is called clamouring them. The allusion is humourous.

Note return to page 234 [4] 4 all men of hair,] i. e. nimble, that leap as if they rebounded: The phrase is taken from tennis-balls, which were stuffed with hair. So in Henry V. it is said of a courser, He bounds as if his entrails were hairs.

Note return to page 235 [5] 5 Pol. O, father, you'll know more of that hereafter.] This is replied by the King in answer to the shepherd's saying, since these good men are pleased. Yet the Oxford Editor, I can't tell why, gives this line to Florizel, since Florizel and the old man were not in conversation.

Note return to page 236 [6] 6 I was not much afraid; &c.] The Character is here finely sustained. To have made her quite astonished on the king's discovery of himself, had not become her birth; and to have given her presence of mind to have made this reply to the King, had not become her education.

Note return to page 237 [7] 7 You have undone a man of fourscore three, &c.] These sentiments, which the Poet has heighten'd by a strain of ridicule that runs thro' them, admirably characterize the speaker; whose selfishness is seen in concealing the adventure of Perdita; and here supported, by shewing no regard for his son or her, but being taken up entirely with himself, though fourscore three.

Note return to page 238 [8] 8 The which shall point you forth at every sitting,] Every sitting, says Mr. Theobald, methinks, gives us but a very poor idea. But a poor idea is better than none; which it comes to, when he has alter'd it to every fitting. The truth is, the common reading is very expressive; and means, at every audience you shall have of the King and Council. The Council-days being, in our author's time called, in common speech, the Sittings.

Note return to page 239 [a] (a) Oxford Edition—Vulg. If I thought it were a piece of honesty to acquaint the King withal, I would not do it.

Note return to page 240 for Col. read Clo.

Note return to page 241 [9] 9 Therefore they do not give us the lie.] Dele the negative: the sense requires it. The Joke is this, they have a profit in lying to us by advancing the price of their commodities; therefore they do lie.

Note return to page 242 [1] 1 Advocate's the court-word for a pheasant.] This satire, on the bribery of courts, not unpleasant.

Note return to page 243 [1] 1 Than to rejoice, the former Queen is well?] The speaker is here giving reasons why the King should marry again. One reason is, pity to the State; another, regard to the continuance of the royal family; and the third, comfort and consolation to the King's affliction. All hitherto is plain, and becoming a Privy-counsellor. But now comes in, what he calls, a holy argument for it, and that is a rejoicing that the former Queen is well and at rest. To make this argument of force, we must conclude that the speaker went upon this opinion, that a widower can never heartily rejoice that his former wife is at rest, till he has got another. Without doubt Shakespear wrote, &lblank; What were more holy, Than to rejoice the former Queen? This will. What, says the speaker, can be a more holy motive to a new choice than that it will glad the spirit of the former Queen? for she was of so excellent a disposition that the happiness of the King and Kingdom, to be procured by it, will give her extreme pleasure. The Poet goes upon the general opinion, that the spirits of the happy in the other world are concerned for the condition of their surviving friends.

Note return to page 244 [a] [(a) offend her. Mr. Theobald—Vulg. offenders.

Note return to page 245 [2] 2 &lblank; so must thy grave] Grave for Epitaph.

Note return to page 246 [3] 3 Your choice is not so rich in worth as beauty,] The Poet must have wrote, Your choice is not so rich in birth as beauty; Because Leontes was so far from disparaging, or thinking meanly of her worth, that, on the contrary, he rather esteems her a treasure; and, in his next speech to the Prince, calls her his precious mistress.

Note return to page 247 [4] 4 which angled for mine eyes, [caught the water, tho' not the fish,] was, &c.] I dare pronounce what is here in hooks, a most stupid interpolation of some player, that angled for a witticism; and therefore have struck it out of the text.

Note return to page 248 [5] 5 that rare Italian master, Julio Romano; &c.] Mr. Theobold says, All the encomiums put together, that have been conferred on this excellent artist in painting and architecture, do not amount to the fine praise here given him by our Author. But he is ever the unluckiest of all criticks when he passes judgment on beauties and defects. The passage happens to be quite unworthy Shakespear. 1. He makes his speaker say, that was Julio Romano the God of Nature, he would outdo Nature. For this is the plain meaning of the words, had he himself eternity, and could put breath into his work, he would beguile Nature of her custom. 2dly, He makes of this famous Painter, a Statuary; I suppose confounding him with Michael Angelo; but, what is worst of all, a painter of statues, like Mrs. Salmon of her wax-work.

Note return to page 249 [6] 6 &lblank; therefore I keep it Lovely, apart. &lblank;] Lovely, i. e. charily, with more than ordinary regard and tenderness. The Oxford Editor reads, Lonely, apart. &lblank; As if it could be apart without being alone.

Note return to page 250 [7] 7 Would I were dead, but that, methinks, already &lblank;] The sentence compleated is, &lblank; but that, methinks, already I converse with the dead. But there his passion made him break off.

Note return to page 251 [8] 8 The fixure of her eye has motion in't,] This is sad nonsense. We should read, The fissure of her eye &lblank; i. e. the socket, the place where the eye is.

Note return to page 252 [9] 9 I could afflict you further.] If it had not been for the answer, one should have concluded the Poet had wrote, affect you; however he uses afflict in the sense of affect. This is only observed to shew, that when we find words to which we must put an unusual signification to make sense, that we ought to conclude Shakespear took that liberty, and that the text is not corrupted. A thing the Oxford Editor should have considered.

Note return to page 253 [1] 1 The troublesome Reign of King John was written in two parts, by W. Shakespear and W. Rowley, and printed 1611. But the present Play is intirely different, and infinitely superior to it. Mr. Pope.

Note return to page 254 [2] 2 Lord of thy presence, and no land beside?] Lord of thy presence can signify only, Master of thyself; and it is a strange expression to signify even that. However that he might be, without parting with his land. We should read, Lord of the presence, &lblank; i. e. Prince of the Blood.

Note return to page 255 [3] 3 &lblank; my face so thin, That in mine ear I durst not stick a rose, Lest men should say, look, where three-farthings goes!] We must observe, to explain this allusion, that Queen Elizabeth was the first, and indeed the only Prince who coin'd in England three-half-pence, and three-farthing pieces. She at one and the same time coin'd shillings, sixpences, groats, three-pences, two-pences, three-half-pence, pence, three-farthings, and half-pence: And these pieces all had her head, and were alternately with the Rose behind, and without the Rose. The shilling, groat, two-pence, penny, and half-penny had it not: The other intermediate coins, viz, the six-pence, three-pence, three-half-pence, and three-farthings had the Rose. Mr. Theobald.

Note return to page 256 [4] 4 That in mine ear I durst not stick a rose.] The sticking Roses about them was then all the court-fashion, as appears from this passage of the Confession Catholique du S. de Sancy, l. 2. c. 1. Je luy ay appris à mettre des Roses par tous les coins, i. e. in every place about him, says the Speaker, of one to whom he had taught all the court-fashions.

Note return to page 257 [5] 5 Piked man,] i. e. formally bearded. Mr. Pope.

Note return to page 258 [6] 6 And so e'er answer knows what question would, Saving in dialogue of compliment.] In this fine speech, Faulconbridge would shew the advantages and prerogatives of men of worship. He observes, particularly, that he has the Traveller at command; (people at that time, when a new world was discovering, in the highest estimation) At the first intimation of his desire, to hear strange stories, the Traveller complies, and will scarce give him leave to make his question, but e'er answer knows what question would—What then, why, according to the present reading, it grows towards supper-time: And is not this worshipful society? To spend all the time between dinner and supper before either of them knows what the other would be at. Read serving instead of saving, and all this nonsense is avoided; and the account stands thus, “E'er answer knows what question would be at, my traveller serves in his dialogue of compliment, which is his standing dish at all tables; then he comes to talk of the Alps and Apenines, &c. and, by the time this discourse concludes, it draws towards supper.” All this is sensible and humorous; and the phrase of serving in is a very pleasant one to denote that this was his worship's second course. What follows shews the romantic turn of the voyagers of that time; how greedily their relations were swallowed, which he calls sweet poison for the age's tooth; and how acceptable it made men at court—For it shall strew the footsteps of my rising. And yet the Oxford Editor says, by this sweet poison is meant flattery.

Note return to page 259 [7] 7 And so am I, whether I smack or no.] A nonsensical line of the Players.

Note return to page 260 [8] 8 Philip, sparrow, James.] I think the Poet wrote, Philip! spare me, James. i. e. don't affront me with an appellation that comes from a Family which I disclaim.

Note return to page 261 [9] 9 Knight, Knight, good mother—Basilisco like] The words allude to an expression in an old foolish play, then the common but of ridicule. But the beauty of the passage consists in his alluding, at the same time, to his high original. His father, Richard the first, was surnamed Cœur-de-lion. And the Cor Leonis, a fixed star of the first magnitude, in the sign Leo, is called Basilisco.

Note return to page 262 [1] 1 Shews] Spelt right by Mr. Theobald.

Note return to page 263 [2] 2 A greater pow'r, than we, denies all this; Kings of our fears, &lblank;] We should read than ye. What power was this? their fears. It is plain therefore we should read Kings are our fears, &lblank; i. e. our fears are the Kings which at present rule us.

Note return to page 264 [a] [(a) &lblank; oh. Oxford Editor—Vulg. of.]

Note return to page 265 [a] [(a) stout. Oxford Editor—Vulg. stoop.]

Note return to page 266 [1] 1 Methinks, that Richard's pride &c.] What was the ground of this quarrel of the Bastard to Austria is no where specify'd in the present play: nor is there in this place, or the scene where it is first hinted at (namely the second of Act 2) the least mention of any reason for it. But the story is, that Austria, who kill'd King Richard Cœur-de-lion, wore as the spoil of that Prince, a lion's hide which had belong'd to him. This circumstance renders the anger of the Bastard very natural, and ought not to have been omitted. In the first sketch of this play (which Shakespear is said to have had a hand in, jointly with William Rowley) we accordingly find this insisted upon, and I have ventured to place a few of those verses here. Mr. Pope.

Note return to page 267 for buy read by.

Note return to page 268 [2] 2 &lblank; a new untrimmed bride.] Mr. Theobald says, that as untrimmed cannot bear any signification to square with the sense required, it must be corrupt; therefore he will cashier it, and read, and trimmed; in which he is followed by the Oxford Editor; but they are both too hasty. It squares very well with the sense, and signifies unsteady. The term is taken from Navigation. We say too, in a similar way of speaking, not well manned.

Note return to page 269 [3] 3 Is not amiss, when it is truly done:] This is a conclusion de travers. We should read, Is yet amiss, &lblank; The Oxford Editor, according to his usual custom, will improve it further, and reads, most amiss.

Note return to page 270 [4] 4 But thou hast sworn against religion: &c.] In this long speech, the Legate is made to shew his skill in casuistry; and the strange heap of quibble and nonsense of which it consists, was intended to ridicule that of the schools. For when he assumes the politician, at the conclusion of the third act, the author makes him talk at another rate. I mean in that beautiful passage where he speaks of the mischiefs following the King's loss of his subjects hearts. This conduct is remarkable, and was intended, I suppose, to shew us how much better politicians the Roman courtiers are, than divines.

Note return to page 271 [5] 5 Some airy devil &lblank;] We must read, Some fiery devil, if we will have the cause equal to the effect.

Note return to page 272 [6] 6 &lblank; the fat ribs of peace Must by the hungry now be fed upon.] The word now seems an idle term here. The antithesis, and opposition of terms, so perpetual with our author, shews we should read, Must by the hungry war be fed upon. War, demanding a large expence, is very poetically said to be hungry, and to prey on the wealth and fat of peace.

Note return to page 273 [7] 7 Sound on unto the drowsie race of night;] We should read, Sound one &lblank;

Note return to page 274 [8] 8 A whole Armado, &c,] This similitude, as little as it makes for the purpose in hand, was, I do not question, a very taking one when the play was first represented; which was a winter or two at most, after the Spanish invasion in 1588. It was in reference likewise to that glorious period that Shakespear concludes his play in that triumphant manner. Thus England never did, nor never shall Lye at the proud foot of a conqueror, &c. But the whole play abounds with touches relative to the then posture of affairs.

Note return to page 275 [9] 9 &lblank; in so fierce a cause,] We should read course, i. e. march. The Oxford Editor condescends to this emendation.

Note return to page 276 [1] 1 No 'scape of nature, &lblank;] The author very finely calls a monstrous birth, an escape of nature. As if it were produced while she was busy elsewhere, or intent on some other thing. But the Oxford Editor will have it, that Shakespear wrote, No shape of nature.

Note return to page 277 [a] [(a) nature. Oxford Editor—Vulg. torture.]

Note return to page 278 [1] 1 I would not have believed a tongue but Hubert's.] Thus Mr. Pope found the line in the old editions. According to this reading it is supposed that Hubert had told him, he would not put out his eyes; for the angel who says he would, is brought in as contradicting Hubert. Mr. Theobald, by what authority I don't know, reads, I would not have believ'd him: no tongue, but Hubert's. which is spoiling the measure, without much mending the Sense. Shakespear, I am persuaded, wrote, I would not have believed a tongue 'bate Hubert; i. e. abate, disparage. The blunder seems to have arisen thus, bate signifies except, saving; so the transcribers, taking it in this sense, substituted the more usual word but in its place. My alteration greatly improves the sense, as implying a tenderness of affection for Hubert; the common reading, only an opinion of Hubert's veracity; whereas the point here was to win upon Hubert's passions which could not be better done than by shewing affection towards him.

Note return to page 279 [2] 2 &lblank; skill in covetousness;] i. e. coveting to reach a higher excellence.

Note return to page 280 [3] 3 &lblank; in hiding of the fault, Than did the fault &lblank;] We should read flaw in both places.

Note return to page 281 [a] [(a) sent. Mr. Theobald.—Vulg. set.]

Note return to page 282 [4] 4 It is the curse of Kings, &c.] This plainly hints at Davison's case, in the affair of Mary Queen of Scots, and so must have been inserted long after the first representation.

Note return to page 283 [5] 5 The dreadful motion of a murd'rous thought.] Nothing can be falser than what Hubert here says in his own vindication; (yet it was the poet's purpose that he should speak truth) for we find, from a preceding scene, the motion of a murd'rous thought had entred into him, and that, very deeply: and it was with difficulty that the tears, the intreaties, and the innocence of Arthur had diverted and suppressed it. Nor is the expression, in this reading, at all exact, it not being the necessary quality of a murd'rous thought to be dreadful, affrighting or terrible: For it being commonly excited by the flattering views of interest, pleasure, or revenge, the mind is often too much taken up with those ideas to attend, steadily, to the consequences. We must conclude therefore that Shakespear wrote, &lblank; a murderer's thought. And this makes Hubert speak truth, as the poet intended he should. He had not committed the murder, and consequently the motion of a murderer's thought had never enter'd his bosom. And in this reading, the epithet dreadful is admirably just, and in nature. For after the perpetration of the fact, the appetites, that hurried their owner to it, lose their force; and nothing succeeds, to take possession of the mind, but a dreadful consciousness, that torments the murderer without respite or intermission.

Note return to page 284 [6] 6 Whose private, &c.] i. e. whose private account, of the Dauphin's affection to our cause, is much more ample than the letters. Mr. Pope.

Note return to page 285 [7] 7 A point set right by Mr. Theobald.

Note return to page 286 [1] 1 Between compulsion, and a brave respect.] This compulsion was the necessity of a reformation in the state; which, according to Salisbury's opinion, (who, in his speech preceding, calls it an enforced cause) could only be procured by foreign arms: And the brave respect was the love of his country. Yet the Oxford Editor, for compulsion, reads compassion.

Note return to page 287 [a] [(a) speeds. Oxford Editor—Vulg. spake!]

Note return to page 288 for an read on.

Note return to page 289 [a] [(a) Pight. Oxford Edition—Vulg. Right.]

Note return to page 290 [2] 2 &lblank; thou and endless night] We should read, eyeless. So Pindar calls the Moon, the eye of night.

Note return to page 291 [a] [(a) insensible. Oxford Edition—Vulg. invisible.]

Note return to page 292 [a] [(a) Thus. Oxford Editor—Vulg. This.]

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