Note return to page 1 [1] 1 that curiosity in neither] Curiosity, for exactest scrutiny. The sense of the whole sentence is, The qualities and properties of the several divisions are so weighed and balanced against one another, that the exactest scrutiny could not determine in preferring one share to the other.

Note return to page 2 [2] 2 some year elder than this,] The Oxford Editor, not understanding the common phrase, alters year to years. He did not consider, the Bastard says, For that I am some twelve or fourteen moon-shines Lag of a Brother. &lblank;

Note return to page 3 [3] 3 express our darker purpose.] Darker, for more secret; not for indirect, oblique.

Note return to page 4 [4] 4 and 'tis our fast intent,] This is an interpolation of Mr. Lewis Theobald, for want of knowing the meaning of the old reading in the quarto of 1608, and first folio of 1623; where we find it, &lblank; and 'tis our first intent, which is as Shakespear wrote it: who makes Lear declare his purpose with a dignity becoming his character: That the first reason of his abdication was the love of his people, that they might be protected by such as were better able to discharge the trust; and his natural affection for his daughters, only the second.

Note return to page 5 [5] 5 Beyond all manner &c.] i. e. beyond all expression.

Note return to page 6 [6] 6 Which the most precious square of sense possesses;] By the square of sense, we are, here, to understand the four nobler senses, viz. the sight, hearing, taste, and smell. For a young lady could not, with decency, insinuate that she knew of any pleasures which the fifth afforded. This is imagined and expressed with great propriety and delicacy. But the Oxford Editor, for square, reads spirit.

Note return to page 7 [7] 7 More pond'rous than my tongue.] We should read their tongue, meaning her sisters.

Note return to page 8 [8] 8 No less in space, validity,] Validity, for worth, value; not for integrity, or good title.

Note return to page 9 [9] 9 To love my father all. &lblank;] These words restored from the first edition, without which the sense was not compleat. Mr. Pope.

Note return to page 10 [1] 1 &lblank; only retain The name, and all th' addition to a King: The sway, revenue, execution, Beloved sons, be yours;] The old books read the lines thus, The sway, revenue, execution of the rest, Beloved sons, be yours. This is evidently corrupt, and the editors not knowing what to make of—of the rest—, left it out. The true reading, without doubt, was, The sway, revenue, execution of th' hest, Beloved sons, be yours. &lblank; Hest, is an old word for regal command: so that the sense of the whole is,—I will only retain the name and all the ceremonious observances that belong to a King; the essentials, as sway, revenue, administration of the laws, be yours.

Note return to page 11 [2] 2 To come betwixt our sentence and our power;] Power, for execution of the sentence.

Note return to page 12 [3] 3 Which nor our nature, nor our place can bear, Our potency make good;] Mr. Theobald, by putting the first line into a parenthesis, and altering make to made in the second line, had destroyed the sense of the whole; which, as it stood before he corrupted the words, was this: “You have endeavour'd, says Lear, to make me break my oath, you have presumed to stop the execution of my sentence: the latter of these attempts neither my temper nor high station will suffer me to bear; and the other, had I yielded to it, my power could not make good, or excuse.”—Which, in the first line, referring to both attempts: But the ambiguity of it, as it might refer only to the latter, has occasioned all the obscurity of the passage.

Note return to page 13 [4] 4 T' avert your liking] To avert, for to turn, simply.

Note return to page 14 [5] 5 from th' intire point.] Intire, for right, true.

Note return to page 15 [6] 6 And well are worth the Want that you have wanted.] This nonsense must be corrected thus, And well are worth the Want that you have vaunted. i. e. that disherison, which you so much glory in, you deserve.

Note return to page 16 [7] 7 Thou, Nature, art my Goddess;] He makes his bastard an Atheist. Italian Atheism had much infected the English Court, as we learn from the best writers of that time. But this was the general title those Atheists in their works gave to Nature; thus Vanini calls one of his books, De admirandis naturæ Reginæ deæque mortalium Arcanis. So that the title here is emphatical.

Note return to page 17 [8] 8 Stand in the plague of custom,] To stand in the plague of custom, is an absurd expression. We should read, Stand in the plage of custom, i. e. the place, the country, the boundary of custom. As much as to say, Why should I, when I profess to follow the freedom of nature in all things, be confined within the narrow limits of custom? Plage, is a word in common use amongst the old English writers. So Chaucer, The plagis of the North by land and sea. from plaga.

Note return to page 18 [9] 9 The curtesie of nations to deprive me,] Deprive, of what? I believe a line is here lost, that signified to deprive him of that right which his Goddess Nature had given him.

Note return to page 19 [a] [(a) &lblank; curtesie. Mr. Theobald—Vulg. curiosity.]

Note return to page 20 [1] 1 Who in the lusty stealth of nature, &c.] These fine lines are an instance of our author's admirable art in giving proper sentiments to his characters. The Bastard's is that of a confirmed Atheist; and his being made to ridicule judicial astrology was designed as one mark of such a character. For this impious juggle had a religious reverence paid to it at that time. And therefore the best characters in this play acknowledge the force of the stars' influence. But how much the lines following this, are in character, may be seen by that monstrous wish of Vanini, the Italian Atheist, in his tract De admirandis naturæ, &c. printed at Paris, 1616, the very year our poet died. O utinam extra legitimum & connubialem thorum essem procreatus! Ita enim progenitores mei in Venerem incaluissent ardentiùs, ac cumulatim affatimque generosa semina contulissent, è quibus ego formæ blanditiam et elegantiam, robustas corporis vires, mentemque innubilam consequutus fuissem. At quia conjugatorum sum soboles, his orbatus sum bonis. Had the book been published but ten or twenty years sooner, who would not have believed that Shakespear alluded to this passage? But the divinity of his genius foretold, as it were, what such an Atheist, as Vanini, would say, when he wrote upon such a subject.

Note return to page 21 [2] 2 Shall be th' legitimate. &lblank;] Here the Oxford Editor would shew us that he is as good at coining phrases as his Author, and so alters the text thus, Shall toe th' legitimate. i. e. says he, stand on even ground with him, as he would do with his author.

Note return to page 22 [3] 3 Now, Gods, stand up for bastards!] For what reason? He does not tell us; but the poet alludes to the debaucheries of the Pagan Gods, who made heroes of all their bastards.

Note return to page 23 [4] 4 &lblank; subscrib'd his pow'r!] Subscrib'd, for transferred, alienated.

Note return to page 24 [5] 5 This policy and reverence of ages] Ages signifies former times. So the sense of the words is this, what between the policy of some, and the superstitious reverence of others to old customs, it is now become an established rule, that fathers shall keep all they have till they die.

Note return to page 25 [6] 6 pretence of danger.] Pretence, for purpose. Danger, for wickedness.

Note return to page 26 [7] 7 I would unstate myself, to be in a due resolution.] i. e. I will throw aside all consideration of my relation to him, that I may act as justice requires.

Note return to page 27 [8] 8 convey the business] Convey, for introduce: but convey is a fine word, as alluding to the practice of clandestine conveying goods so as not to be found upon the felon.

Note return to page 28 [9] 9 This is the excellent foppery of the world, &c.] In Shakespear's best plays, besides the vices that arise from the subject, there is generally some peculiar prevailing Folly, principally ridiculed, that runs thro' the whole piece. Thus, in the Tempest, the lying disposition of travellers, and in As you like it, the fantastick humour of courtiers, is exposed and satirized with infinite pleasantry. In like manner, in this play of Lear, the dotages of judicial astrology are severely ridiculed. I fancy, was the date of its first performance well considered, it would be found that something or other happened at that time which gave a more than ordinary run to this deceit, as these words seem to intimate. I am thinking, brother, of a prediction I read this other day, what should follow these eclipses. However this be, an impious cheat, which had so little foundation in nature or reason, so detestable an original, and such fatal consequences on the manners of the people, who were at that time strangely besotted with it, certainly deserved the severest lash of satire. It was a fundamental in this noble science, that whatever seeds of good dispositions the infant unborn might be endowed with, either from nature, or traductively from its parents, yet if, at the time of its birth, the delivery was by any casualty so accelerated or retarded, as to fall in with the predominancy of a malignant constellation, that momentary influence would entirely change its nature, and bias it to all the contrary ill qualities. So wretched and monstrous an opinion did it set out with. But the Italians, to whom we owe this, as well as most other unnatural crimes and follies of these latter ages, fomented its original impiety to the most detestable height of extravagance. Petrus Aponensis, an Italian physician of the XIIIth century, assures us that those prayers which are made to God when the moon is in conjunction with Jupiter in the Dragon's tail, are infallibly heard. But after him Cardan, with the boldness and impiety of an atheist and a madman, both of which he was, cast the nativity of Jesus Christ, and found by the great and illustrious concourse of stars at his birth, that he must needs have the fortune which befel him, and become the author of a Religion which should spread itself far and near for many ages. The great Milton with a just indignation of this impiety, hath, in his Paradise Regain'd, satirized it in a very beautiful manner, by putting these reveries into the mouth of the Devil where he addresses Jesus Christ in the following manner: &lblank; If I read aught in heav'n, Or heav'n write aught of fate, by what the stars Voluminous or single characters, In their conjunction met, give me to spell, Sorrows and labours, opposition, hate Attends thee, scorns, reproaches, injuries, Violence and stripes, and lastly cruel death: A kingdom they portend thee, but what kingdom, Real or allegoric, I discern not, Nor when; eternal sure, as without end, Without beginning; for no date prefixt Directs me in the starry rubric set. lib. 4. ver. 382. Where it is to be observed, that the Poet thought it not enough to discredit judicial Astrology by making it patronised by the Devil, without shewing at the same time the absurdity of it. He has therefore very judiciously made him blunder in the expression, of portending a kingdom which was without beginning. This destroys all he would insinuate. The Poet's conduct is fine and ingenious. Nor could the licentious Rabelais himself forbear to ridicule this impious dotage, which he does with exquisite address and humour, where in the fable which he so agreeably tells from Æsop, of the man who applied to Jupiter for the loss of his hatchet, he makes those, who, on the poor man's good success, had projected to trick Jupiter by the same petition, a kind of astrologick atheists, who ascribed this good fortune, that they imagined they were now all going to partake of, to the influence of some rare conjunction and configuration of the stars. Hen, hen, disent ils—Et doncques, telle est au temps present la revolution des Cieulx, la constellation des Astres, & aspect des Planetes, que quiconque Coignée perdra, soubdain deviendra ainsi riche?— Nou. Prol. du IV. Livre. But to return to Shakespear. So blasphemous a delusion, therefore, it became the honesty of our Poet to expose. But it was a tender point, and required managing. For this impious juggle had in his time a kind of religious reverence paid to it. It was therefore to be done obliquely; and the circumstances of the scene furnished him with as good an opportunity as he could wish. The persons in the drama are all pagans, so that as, in compliance to custom, his good characters were not to speak ill of judicial Astrology, they could on account of their religion give no reputation to it. But in order to expose it the more, he, with great judgment, makes these pagans Fatalists; as appears by these words of Lear, By all the operations of the orbs, From whom we do exist and cease to be. For the doctrine of fate is the true foundation of judicial Astrology. Having thus discredited it by the very commendations given to it, he was in no danger of having his direct satire against it mistaken, by its being put (as he was obliged, both in paying regard to custom, and in following nature) into the mouth of the villain and atheist, especially when he has added such force of reason to his ridicule, in the words referred to in the beginning of the note.

Note return to page 29 [1] 1 An admirable evasion &lblank; to lay his &lblank; disposition on the charge of a star!] We should read, change of a star! which both the sense and grammar require. It was the opinion of Astrologers, (see what is said just above) that the momentary influence did all; and we do not say, Lay a thing on the charge, but to the charge. Besides, change answering to evasion just above, gives additional elegance to the expression.

Note return to page 30 [2] 2 He comes, like the Catastrophe of the old comedy;] This we are to understand as a compliment, intended by the Author, on the natural winding up of the plot in the Comedy of the ancients; which as it was owing to the artful and yet natural introduction of the persons of the Drama into the scene, just in the nick of time, or pat, as our author says, makes the similitude very proper. This, without doubt, is the supreme beauty of Comedy, considered as an action. And as it depends solely on a strict observance of the Unities, it shews that these Unities are in nature, and in the reason of things, and not in a meer arbitrary invention of the Greeks, as some of our own country critics, of a low mechanick genius, have, by their works, persuaded our wits to believe. For common sense requiring that the subject of one comedy should be one action, and that that action should be contained nearly within the period of time which the representation of it takes up; hence we have the unities of Time and Action; and, from these, unavoidably arises the third, which is that of Place. For when the whole of one action is included within a proportionable small space of time, there is no room to change the scene, but all must be done upon one spot of ground. Now, from this last unity (the necessary issue of the two other, which derive immediately from nature) proceeds all that beauty of the catastrophe, or the winding up the plot in the ancient comedy. For all the persons of the Drama being to appear and act on one limited spot, and being by their several interests to embarras, and at length to conduct the action to its destin'd period, there is need of consummate skill to bring them on, and take them off, naturally and necessarily: for the grace of action requires the one, and the perfection of it the other. Which conduct of the action, must needs produce a beauty that will give a judicious mind the highest pleasure. On the other hand, when a comic writer has a whole country to range in, nothing is easier than to find the persons of the Drama just where he would have them; and this requiring no art, the beauty we speak of is not to be found. Consequently a violation of the unities deprives the Drama of one of its greatest beauties; which proves what I asserted, that the three unities are no arbitrary mechanic invention, but founded in reason and the nature of things. The Tempest of Shakespear sufficiently proves him to be well acquainted with these unities; and the passage in question shews him to have been struck with the beauty that results from them.

Note return to page 31 [3] 3 Old Fools are babes again; and must be used With Checks like Flatt'ries when they're seen abus'd.] Thus the old Quarto reads these lines. It is plain they are corrupt. But they have been made worse by a fruitless attempt to correct them. And first, for Old Fools are babes again; A proverbial expression is here plainly alluded to; but it is a strange proverb which only informs us that fools are innocents. We should read, Old Folks are Babes again; &lblank; Thus speaks the proverb, and with the usual good sense of one. The next line is jumbled out of all meaning. With Checks like Flatt'ries when they're seen abus'd. Mr. Theobald restores it thus, With Checks like Flatt'rers when they're seen to abuse us. Let us consider the sense a little. Old Folks, says the speaker, are Babes again; well, and what then? Why then they must be used like Flatterers. But when Shakespear quoted the Proverb, we may be assured his purpose was to draw some inference from it, and not run rambling after a similitude. And that inference was not difficult to find, had common sense been attended to, which tells us Shakespear must have wrote, Old Folks are Babes again; and must be used With Checks, not Flatt'ries when thy're seen abus'd. i. e. Old folks being grown children again, they should be used as we use children, with Checks, when we find that the little Flatt'ries we employed to quiet them are abus'd, by their becoming more peevish and perverse by indulgence. &lblank; When they're seen abus'd. i. e. when we find that those Flatt'ries are abused.

Note return to page 32 [4] 4 him that is wise and says little;] Tho' saying little may be the character of wisdom, it was not a quality to chuse a companion by for his conversation. We should read, to say little; which was prudent when he chose a wise companion to profit by. So that it was as much as to say, I profess to talk little myself, that I may profit the more by the conversation of the wise.

Note return to page 33 [5] 5 and to eat no fish.] In Queen Elizabeth's time the Papists were esteemed, and with good reason, enemies to the government. Hence the proverbial phrase of, He's an honest man and eats no fish; to signify he's a friend to the Government and a Protestant. The eating fish, on a religious account, being then esteem'd such a badge of popery, that when it was enjoin'd for a season by act of parliament, for the encouragement of the fish-towns, it was thought necessary to declare the reason; hence it was called Cecil's Fast. To this disgraceful badge of popery, Fletcher alludes in his Woman-hater, who makes the courtezan say, when Lazarillo, in search of the Umbrano's head, was seized at her house by the Intelligencers, for a traytor. Gentlemen, I am glad you have discovered him. He should not have eaten under my roof for twenty pounds. And sure I did not like him when he called for fish. And Marston's Dutch Courtezan. I trust I am none of the wicked that eat fish a fryday.

Note return to page 34 [6] 6 pretence and purpose of unkindness;] Pretence, for indication. So the sense is, A purpose of unkindness, a design that that unkindness should be seen.

Note return to page 35 [7] 7 take my coxcomb.] Meaning his cap, called so, because on the top of the fool or jester's cap was sewed a piece of red cloth, resembling the comb of a cock. The word, afterwards, used to denote a vain conceited meddling fellow.

Note return to page 36 [8] 8 Learn more than thou trowest,] To trow, is an old word which signifies to believe. The precept is admirable.

Note return to page 37 for tents read tens.

Note return to page 38 [9] 9 If I had a monopoly on't, they would have a part on't:] A satire on the gross abuses of monopolies at that time; and the corruption and avarice of the courtiers, who commonly went shares with the patentee.

Note return to page 39 [1] 1 let him be whip'd that first finds it so.] We should read sooth, i. e. truth; alluding to the Latin proverb, Qui capit ille facit.

Note return to page 40 [2] 2 That's a sheal'd peascod.] This has no kind of sense. We should read, thou art a sheal'd peascod. Speaking to Lear, and comparing him to a peascod, from whence the peas are sheal'd or taken out. Which was his condition, having parted with his power.

Note return to page 41 [3] 3 &lblank; and put it on] i. e. promote, put it forward.

Note return to page 42 [4] 4 &lblank; for by the marks Of sovereignty, of knowledge, and of reason.] His daughters prove so unnatural, that, if he were only to judge by the reason of things, he must conclude, they cannot be his daughters. This is the thought. But how does his kingship or sovereignty enable him to judge in this matter. The line, by being false-pointed, has lost its sense. We should read, Of sovereignty of knowledge, &lblank; i. e. the understanding. He calls it, by an equally fine phrase, in Hamlet, Sov'reignty of reason. And it is remarkable that the Editors had depraved it there too. See Note, Act I. Scene 7. of that play.

Note return to page 43 *You, as you're old and reverend, should be wise.] i. e. long experience should have gain'd you wisdom; and the reverence due to years requires you to put it in practice.

Note return to page 44 [5] 5 Than a grac'd Palace.] i. e. a palace grac'd with the presence of its sovereign.

Note return to page 45 [6] 6 A little is the common reading; but it appears, from what Lear says in the next Scene, that this number fifty was requir'd to be cut off, which (as the edition stood) is no where specify'd by Gonerill. Mr. Pope.

Note return to page 46 *&lblank; that shall still depend,] Depend, for continue in service.

Note return to page 47 †Which, like an engine, &c.] Alluding to the famous boast of Archimedes.

Note return to page 48 [7] 7 &lblank; from her derogate body] Derogate, for unnatural.

Note return to page 49 [8] 8 With cadent tears &lblank;] We should read candent, i. e. hot, scalding. More agreeable to the passionate imprecation of the speaker; and to his usual phraseology: as where he says presently after, &lblank; these hot tears that break from me perforce, and again &lblank; my own tears Do scald like molten lead.

Note return to page 50 [9] 9 Th' untented woundings of a father's curse Pierce every sense about thee!] As plausible as this reading is, it is certainly corrupt. We should read, Pierce every fence about thee! i. e. guard, security, barrier. Let nothing stand against a father's curse.

Note return to page 51 [1] 1 As may compact it more.] Compact, for confirm.

Note return to page 52 [1] 1 Mumbling of wicked Charms, conj'ring the moon] This was a proper circumstance to urge to Glo'ster; who appears, by what passed between him and his bastard son in a foregoing scene, to be very superstitious with regard to this matter.

Note return to page 53 [2] 2 Not in this land shall he remain uncaught; And found dispatch—the noble Duke, &c.] This nonsense should be read and pointed thus, Not in this land shall he remain uncaught; And found, dispatch'd. &lblank; i. e. he shall not remain uncaught, and as soon as he is found he shall be dispatch'd or executed.

Note return to page 54 [3] 3 My worthy arch and patron] So the old Editions read it; and rightly. Arch is from &gra;&grr;&grx;&grog;&grst;, chief. But Mr. Theobald alters it to, My worthy and arch patron. &lblank;

Note return to page 55 [4] 4 &lblank; would the reposal] i. e. would any opinion that men have reposed in thy trust, virtue, &c.

Note return to page 56 *&lblank; no; what I should deny.] The sense and grammar requires we should read, and point, &lblank; no, when I should deny.

Note return to page 57 [5] 5 He whom my father nam'd, your Edgar?] It should be pointed thus, He whom my father nam'd? i. e. named at the Font. Was it him? Was it your Edgar? For here the Poet forgets his pagan system.

Note return to page 58 [6] 6 &lblank; doth this instant So much commend itself. &lblank;] Sure it should be, &lblank; in this instance So much commends itself, &lblank;

Note return to page 59 [7] 7 Occasions, noble Glo'ster, of some prize,] We should read, poise, i. e. weight.

Note return to page 60 [8] 8 Good evening] In the common editions it is Good dawning, tho' the time be apparently night. The Editors therefore have altered it to Good evening. But this was not Shakespear's phrase. The common editions were corrupt indeed, and should have given it us, as the poet wrote it, Good downing. i. e. good rest, the common evening-salutation of that time.

Note return to page 61 [9] 9 I'll make a sop o'th' moonshine of you;] This is equivalent to our modern phrase of making the sun shine thro' any one. But, alluding to the natural philosophy of that time, it is obscure. The Peripatetics thought, tho' falsly, that the rays of the moon were cold and moist. The speaker therefore says, he would make a sop of his antagonist, which should absorb the humidity of the moon's rays, by letting them into his guts. For this reason, Shakespear in Romeo and Juliet says, &lblank; the moonshine's watry beams. And in Midsummer-Night's dream, Quench'd in the chast beams of the watry moon.

Note return to page 62 [1] 1 this unbolted villain] i. e. unrefined by education, the bran yet in him. Metaphor from the bakehouse.

Note return to page 63 [2] 2 Like rats, oft bite the holy cords in twain Too 'intrinsicate t' unloose: &lblank;] By these holy cords the poet means the natural union between parents and children. The metaphor is taken from the cords of the sanctuary; and the fomenters of family differences are compared to these sacrilegious rats. The expression is fine and noble.

Note return to page 64 [3] 3 &lblank; Camelot.] Was the place where the romances say, King Arthur kept his court in the west; so this alludes to some proverbial speech in those romances.

Note return to page 65 [4] 4 &lblank; constrains the garb,] Garb, for habit, custom.

Note return to page 66 [5] 5 Than twenty silly ducking observants,] The epithet silly cannot be right. 1st, Because Cornwall, in this beautiful speech, is not talking of the different success of these two kind of parasites, but of their different corruption of heart. 2. Because he says these ducking observants know how to stretch their duties nicely. I am persuaded we should read, Than twenty silky ducking observants, Which not only alludes to the garb of a court sycophant, but admirably well denotes the smoothness of his character. But what is more, the poet generally gives them this epithet in other places. So in Richard III. he calls them &lblank; Silky, sly, insinuating Jacks. And in Coriolanus, &lblank; when steel grows Soft as the parasite's silk, &lblank;

Note return to page 67 [6] 6 But Ajax is their fool.] I should rather read foil. So in Hamlet. I'll be thy foil, Laertes.

Note return to page 68 [7] 7 Will not be rubb'd nor stop'd. &lblank;] Metaphor from bowling.

Note return to page 69 [8] 8 Poor pelting villages, &lblank;] Pelting is used by Shakespear in the sense of beggarly; I suppose from pelt a skin. The poor being generally clothed in leather.

Note return to page 70 [9] 9 Inforce their charity; &lblank;] I should rather think Shakespear wrote, Inforce reer charity; &lblank; An old word for slow, backward, and unwilling to shew itself. The author in this play afterwards, uses a similar expression, &lblank; force their scanted courtesie.

Note return to page 71 [1] 1 &lblank; poor Turlygood! poor Tom!] We should read Turlupin. In the fourteenth century there was a new species of gipsies, called Turlupins, a fraternity of naked beggars, which ran up and down Europe. However the Church of Rome hath dignified them with the name of Hereticks, and actually burn'd some of them at Paris. But what sort of Religionists they were, appears from Genebrard's account of them. Turelupin-Cynicorum sectam suscitantes, de nuditate pudendorum, & publico coitu. Plainly, nothing but a band of Tom-o'-bedlams.

Note return to page 72 [2] 2 To do upon respect such violent outrage:] Respect, for one in honourable employment.

Note return to page 73 [3] 3 Resolve me with all modest haste, &lblank;] Modest, for reasonable.

Note return to page 74 [4] 4 Deliver'd letters spight of intermission,] Intermission, for another message which they had then before them, to consider of; called intermission, because it came between their leisure and the Steward's message.

Note return to page 75 [5] 5 They summon'd up their meiny, &lblank;] Meiny, i. e. people. Mr. Pope.

Note return to page 76 [6] 6 When a wise man gives thee &c.] One cannot too much commend the caution which our moral poet uses, on all occasions, to prevent his sentiments from being perversly taken. So here, having given an ironical precept in commendation of perfidy and base desertion of the unfortunate, for fear it should be understood seriously, tho' delivered by his buffoon or jester, he has the precaution to add this beautiful corrective, full of fine sense: I would have none but knaves follow it, since a fool gives it.

Note return to page 77 [7] 7 The images of revolt &lblank;] Images, for indications.

Note return to page 78 [8] 8 &lblank; she hath tied Sharp-tooth'd unkindness like a vulture here;] Alluding to the fable of Prometheus.

Note return to page 79 [9] 9 Do you but mark, how this becomes the House.] Mr. Theobald says, This phrase is to him unintelligible, and seems to say little to the purpose; and therefore alters it to, &lblank; becomes the use, which signifies less. The Oxford Editor who liked neither, makes him still more familiar—becometh us. Whereas, all this choping and changing proceeds from an utter ignorance of a great, a noble, and a most expressive phrase, &lblank; becomes the House; which signifies the order of families, the duties of relation, which are scandalously disturbed by the father's submission to the Daughter.

Note return to page 80 [1] 1 Look'd black upon me;] So all the editions. Mr. Theobald alters it to blank. A small alteration, only turning black to white. His reason is, because to look black upon him is a phrase he does not understand. I believe so. But it alludes to a serpent's turning black, when it swells with rage and venom, the very creature to which Lear here compares his daughter.

Note return to page 81 [2] 2 &lblank; whose easie-borrowed pride] Easy-borrow'd, a fine expression, for natural to him.

Note return to page 82 [3] 3 If you do love old men, if your sweet sway Allow obedience, if your selves are old,] Could it be a question whether heaven allowed obedience? The poet wrote, hallow obedience. &lblank; i. e. if paternal government here be so much the image of the mild government of heaven, that it sanctifies the obedience due to parents, and esteems the violators of it impious, make it your cause. He adds, if yourselves are old. This perhaps may appear low and ridiculous to the unlearned reader; but we are to consider this pagan King as alluding to the ancient heathen Theology, which teaches that Cœlus, or Ouranus, or Heaven, was deposed by his son Saturn, who rebelled and rose in arms against him. His case, then, being the same with Lear's, he was the fittest to be addressed to on this occasion.

Note return to page 83 [4] 4 All's not offence that indiscretion finds,] I am almost persuaded that Shakespear wrote fines, i. e. censures; the common reading being scarce sense.

Note return to page 84 [5] 5 I pray you, Father, being weak, seem so.] This is a very odd request. She surely asked something more reasonable. We should read, &lblank; being weak, deem't so, i. e. believe that my husband tells you true, that Kent's disorders deserved a more ignominious punishment.

Note return to page 85 [6] 6 No, rather I abjure all roofs, and chuse To wage against the enmity o'th' air; To be a comrade with the wolf and owl, Necessity's sharp pinch! &lblank;] Thus should these lines (in the order they were read, in all the editions 'till Mr. Theobald's) be pointed. The want of which pointing contributed, perhaps, to mislead him in transposing the second and third lines, on which imaginary regulation he thus descants, The breach of the sense here is a manifest proof that these lines were transposed by the first Editors. Neither can there be any syntax or grammatical coherence, unless we suppose [necessity's sharp pinch] to be the accusative to [wage].—But this is supposing the verb wage, to want an accusative, which it does not. To wage, or wager against any one, was a common expression; and, being a species of acting, (namely, acting in opposition) was as proper as to say, act against any one. So, to wage against the enmity o'th' air, was to strive or fight against it. Necessity's sharp pinch, therefore, is not the accusative to wage, but declarative of the condition of him who is a comrade to the wolf and owl: in which the verb [is] is understood. The consequence of all this is, that it was the last editors, and not the first, who transposed the lines from the order the poet gave them. For the Oxford Editor follows Mr. Theobald

Note return to page 86 for beater read bearer.

Note return to page 87 [7] 7 Those wicked creatures yet do look well-favour'd, When others are more wicked.] As a little before, in the text [like flatterers] the editors had made a similitude where the author intended none; so here, where he did, they are not in the humour to give it us, because not introduced with the formulary word, like. Lear's second daughter proving still more unkind than the first, he begins to entertain a better opinion of this, from the other's greater degree of inhumanity; and expresses it by a similitude taken from the deformities which old age brings on. Those wrinkled creatures yet do look well-favour'd, When others are more wrinkled: &lblank; For so, instead of wicked, it should be read in both places: which correction the word well-favour'd might have led to. Lear considers the unnatural behaviour of his daughters under this idea, both in and out of his senses. So again, speaking of them, in his distraction, he says, And here's another whose warpt looks proclaim what store her heart is made of. Shakespear has the character of a very incorrect writer, and so, indeed, he is. But this character being received, as well as given, in the lump, has made him thought an unfit subject for critical conjecture: which perhaps may be true, with regard to those who know no more of his genius than a general character of it conveys to them. But we should distinguish. Incorrectness of stile may be divided into two parts: an inconsistency of the terms employed with one another; and an incongruity in the construction of them. In the first case he is rarely faulty; in the second, negligent enough. And this could hardly be otherwise. For his ideas being the clearest, and his penetration in discovering their agreement, disagreement, and relation to each other, the deepest that ever was in any Poet, his terms of course must be well put together: Nothing occasioning the jumbling of discordant terms, from broken metaphors, but the cloudiness of the understanding, and the consequent obscurity of the ideas: Terms being nothing but the painting of ideas, which he, who sees clearly, will never employ in a discordant colouring. On the contrary, a congruity in the construction of these terms (which answers to drawing, as the use of the terms does to colouring) is another thing. And Shakespear, who owed all to nature, and was hurried on by a warm attention to his ideas, was much less exact in the construction and grammatical arrangement of his words. The conclusion is, that where we find gross inaccuracies, in the relation of terms to one another, there we may be confident, the text has been corrupted by his editors: and, on the contrary, that the offences against syntax are generally his own. Had the Oxford Editor attended to this distinction, he would not perhaps have made it the principal object in his restored Shakespear, to make his author always speak in strict grammar and measure. But it is much easier to reform such slips as never obscure the sense, and are set right by a grammar-rule or a finger-end, than to reduce a depraved expression, which makes nonsense of a whole sentence, and whose reformation requires you to enter into the author's way of thinking.

Note return to page 88 for or read our.

Note return to page 89 [8] 8 &lblank; touch me with noble anger;] It would puzzle one at first to find the sense, the drift, and the coherence of this petition. For if the Gods sent this evil for his punishment, how could he expect that they should defeat their own design, and assist him to revenge his injuries? The solution is, that Shakespear here makes his speaker allude to what the ancient poets tell us of the misfortunes of particular families: Namely, that when the anger of the Gods, for an act of impiety was raised against an offending house, their method of punishment was, first to inflame the breasts of the children to unnatural acts against their Parents; and then, of the parents against their children, in order to destroy one another: and that both these outrages were the instigation of the Gods. To consider Lear as alluding to this divinity, makes his prayer exceeding pertinent and fine.

Note return to page 90 [9] 9 &lblank; I will do such things, What they are yet I know not; but they shall be The terrors of the world &lblank;] Haud quid sit scio. Sed grande quiddam est. Senec. Thyest. Act 2. &lblank; nescio quid ferox Decrevit animus intus, & nondum sibi audet fateri. Medea.

Note return to page 91 [1] 1 &lblank; tears his white hair;] The six following verses were omitted in all the late Editions: I have replaced them from the first, for they are certainly Shakespear's. Mr. Pope.

Note return to page 92 [2] 2 Which the impetuous blasts, &c.] These two lines, some player's trash.

Note return to page 93 [3] 3 This night wherein the Cub-drawn bear would couch.] Cub-drawn has been explained to signify drawn by nature to its young: whereas it means, whose dugs are drawn dry by its young. For no animals leave their dens by night but for prey. So that the meaning is, “that even hunger, and the support of its young, would not force the bear to leave his den in such a night.”

Note return to page 94 for rain read rein.

Note return to page 95 4But true it is, &c.] In the old editions are the five following lines which I have inserted in the text, which seem necessary to the plot, as a preparatory to the arrival of the French army with Cordelia in Act 4. How both these, and a whole scene between Kent and this gentleman in the fourth act, came to be left out in all the later editions, I cannot tell: they depend upon each other, and very much contribute to clear that incident. Mr. Pope.

Note return to page 96 5&lblank; from France there comes a power Into this scatter'd kingdom; who already, Wise in our negligence, have secret sea In some of our best ports &lblank;] Scatter'd kingdom, if it have any sense, gives us the idea of a kingdom fallen into an anarchy: But that was not the case. It submitted quietly to the government of Lear's two sons-in-law. It was divided, indeed, by this means, and so hurt, and weaken'd. And this was what Shakespear meant to say, who, without doubt, wrote, &lblank; scathed kingdom, &lblank; i. e. hurt, wounded, impaired. And so he frequently uses scath for hurt or damage. Again, what a strange phrase is, having sea in a port, to signify a fleet's lying at anchor? which is all it can signify. And what is stranger still, a secret sea, that is, lying incognito, like the army at Knight's-bridge in the Rehearsal. Without doubt the poet wrote, &lblank; have secret seize In some of our best ports &lblank; i. e. they are secretly secure of some of the best ports, by having a party in the garrison ready to second any attempt of their friends, &c. The exactness of the expression is remarkable; he says, secret seize in some, not of some. For the first implies a conspiracy ready to seize a place on warning; the other, a place already seized.

Note return to page 97 6You sulph'rous and thought-executing fires, Vaunt-couriers of oak cleaving thunder-bolts, Singe my white head. &lblank;] The second of these lines must needs be the players' spurious issue. The reason is demonstrative. The poet tells us in the first and third lines, truly, that it is the flash which does the execution; but in the second he talks of an imaginary thunder-bolt (distinct from the flash or fire, which fire he calls only the vaunt couriers or fore-runners of it) which he falsly says does it. This is so glaring a contradiction as makes it impossible to be all of one hand.

Note return to page 98 [a] [(a) &lblank; germins or seeds. Mr. Theobald.—Vulg germains.]

Note return to page 99 7You owe me no subscription. &lblank;] Subscription, for obedience.

Note return to page 100 8&lblank; here I stand your slave;] But why so? It is true, he says, that they owed him no subscription; yet sure he owed them none. We should read, &lblank; here I stand your brave; i. e. I defy your worst rage, as he had said just before. What led the editors into this blunder was what should have kept them out of it, namely the following line, A poor, infirm, weak, and despis'd old man! And this was the wonder, that such a one should brave them all.

Note return to page 101 9Gallow the very wand'rers of the dark,] Gallow, a west-country word, signifies to scar or frighten.

Note return to page 102 1&lblank; thou Simular of virtue,] Shakespear has here kept exactly to the Latin propriety of the term. But his editor, Mr. Theobald, has unluckily blundered himself out of it, in his comment upon it. He, [Shakespear] (says the critic) would use a simular of virtue to signify a false pretender to it, a dissembler that would make an outward shew of it. But his author knew well that he who makes an outward shew of what he has not, could not, with propriety, be called a dissembler, but a sembler: or, as he expresses it, a simular: and he that hides what he has, a dissembler. So when Salust would inform us, that Catiline put on the shew of every virtue he had not, and disguised every vice he had, he calls him, Cujuslibet rei simulator ac dissimulator. I will only observe, that our author seems to have imitated Skelton in making a substantive of Simular, as the other did of Dissimular, With other foure of theyr affynyte, Dysdayne, ryotte, Dissymuler, subtylte. The bouge of Courte.

Note return to page 103 [2] 2 That under covert and convenient seeming.] This may be right. And if so, convenient is used for commodious or friendly. But I rather think the poet wrote, That under cover of convivial seeming, i. e. under cover of a frank, open, social conversation. This raises the sense, which the poet expresses more at large in Timon of Athens, where he says, &lblank; The fellow that Sits next him now, parts bread with him, and pledges The breath of him in a divided draught; Is th' readiest man to kill him. &lblank;

Note return to page 104 [a] [(a) &lblank; one string. Oxford Editor—Vulg. one thing.]

Note return to page 105 [3] 3 'Tis a brave night, &c] This speech not in the old edition. Mr. Pope.

Note return to page 106 [4] 4 I'll speak a prophecy or ere I go; When priests are more in words than matter; When brewers marr their malt with water; When nobles are their tailors' tutors; No hereticks burn'd, but wenches' suitors; When every case in law is right, No 'Squire in debt, nor no poor Knight; When slanders do not live in tongues, And cut-purses come not to throngs; When usurers tell their gold i' th' field, And bawds, and whores do churches build: Then shall the realm of Albion Come to great confusion. Then comes the time, who lives to see't, That Going shall be us'd with feet.] The judicious reader will observe through this heap of nonsense and confusion, that this is not one, but two prophecies. The first, a satyrical description of the present manners as future: And the second, a satyrical description of future manners, which the corruption of the present would prevent from ever happening. Each of these prophecies has its proper inference or deduction: yet, by an unaccountable stupidity, the first editors took the whole to be all one prophecy, and so jumbled the two contrary inferences together. The whole then should be read as follows, only premising that the first line is corrupted by the loss of a word—or ere I go, is not English, and should be helped thus, 1. I'll speak a prophecy or two ere I go. When priests are more in words than matter, When brewers marr their malt with water; When nobles are their tailors' tutors; No hereticks burnt but wenches' suitors; Then comes the time, who lives to see't, That Going shall be us'd with feet. i. e. Now. 2. When every case in law is right No squire in debt, and no poor knight; When slanders do not live in tongues; And cut-purses come not to throngs; When usurers tell their gold i' th' field; And bawds and whores do churches build: Then shall the realm of Albion Come to great confusion. i. e. Never.

Note return to page 107 [5] 5 When nobles are their tailors' tutors;] i. e. invent fashions for them.

Note return to page 108 [6] 6 wore gloves in my cap,] That is, his Mistress's favours: which was the fashion of that time. So in the play called Campaspe, Thy men turned to women, thy soldiers to lovers, gloves worn in velvet caps instead of plumes in graven helmets.

Note return to page 109 [7] 7 light of ear,] i. e. credulous.

Note return to page 110 for are so sophisticated read are sophisticated.

Note return to page 111 [8] 8 Saint Withold footed thrice the wold, He met the night-mare, and her nine-fold, Bid her alight, and her troth plight, And aroynt thee, witch, aroynt thee *] We should read it thus, Saint Withold footed thrice the wold, He met the night-mare, and her name told, Bid her alight, and her troth plight, And aroynt thee, witch, aroynt thee right. i. e. Saint Withold traversing the Wold, or Downs, met the night-mare; who having told her name, he obliged her to alight from those persons whom she rides, and plight her troth to do no more mischief. This is taken from a story of him in his legend. Hence he was invoked as the patron saint against that distemper. And these verses were no other than a popular charm, or night spell against the Epialtes. The last line is the formal execration or apostrophe of the speaker of the charm to the witch, aroynt thee right, i. e. depart forthwith. Bedlams, Gipsies, and such-like vagabonds, used to sell these kind of spells or charms to the people. They were of various kinds for various disorders, and addressed to various saints. We have another of them in the Monsieur Thomas of Fletcher, which he expresly calls a night-spell, and is in these words, Saint George, Saint George, our Lady's Knight, He walks by day, so he does by night; And when he had her found, He her beat and her bound; Until to him her troth she plight, She would not stir from him that night.

Note return to page 112 [a] [(a) &lblank; Wold. Mr. Bishop.—Vulg. old.

Note return to page 113 [a] [(a) &lblank; small geer. Oxford Editor.—Vulg. small deer.

Note return to page 114 [9] 9 Child Rowland &lblank;] In the old times of chivalry, the noble youth who were candidates for knighthood, during the season of their probation, were called Infans, Varlets, Damoysels, Bacheliers. The most noble of the youth particularly, Infans. Here a story is told, in some old ballad, of the famous hero and giant-killer Roland, before he was knighted, who is, therefore, called Infans; which the ballad-maker translated, Child Roland.

Note return to page 115 [1] 1 but a provoking merit,] i. e. a merit which being neglected by the father, was provoked to an extravagant act. The Oxford Editor, not understanding this, alters it to provoked spirit.

Note return to page 116 [2] 2 Come hizzing in upon 'em &lblank;] Then follow in the old edition several speeches in the mad way, which probably were left out by the Players, or by Shakespear himself; I shall however insert them here, and leave them to the reader's mercy. Mr. Pope.

Note return to page 117 [3] 3 the health of a horse,] Without doubt we should read heels, i. e. to stand behind him.

Note return to page 118 [4] 4 &lblank; brache, or hym, &c.] Names of particular sorts of dogs. Mr. Pope.

Note return to page 119 [5] 5 Leaving free things, &lblank;] Free, for undisturbed.

Note return to page 120 [6] 6 &lblank; and thyself bewray] Between this and the following words something is wanting, which makes the following words unconnected and obscure, and these unintelligible, as being only the beginning of a sentence.

Note return to page 121 [7] 7 By the kind gods, &lblank;] We are not to understand by this the Gods in general, who are beneficent and kind to men; but that particular species of them called by the ancients Dii hospitales, kind Gods. So Plautus in Pœnulo, Deum hospitalem ac tesseram mecum fero. This was a beautiful exclamation, as those who insulted the speaker were his Guests, whom he had hospitably received into his house. But to say the truth, Shakespear never makes his people swear at random. Of his propriety in this matter take the following instances. In Troilus and Cressida, Æneas, in an expostulation with Diomede, swears by the hand of his mother Venus, as a covert reproof for Diomede's brutality in wounding the Goddess of Beauty in the hand, and a secret intimation that he would revenge her injuries. In Coriolanus when that Hero is exasperated at the fickle inconstant temper of the multitude, he swears by the clouds; and again when he meets his wife after a long absence, by the jealous Queen of Heaven; for Juno was supposed the aveng'ress of conjugal infidelity. In Othello the double Iago is made to swear by Janus. And in this very play of Lear, a pagan much given to judicial Astrology, very consonantly to his character, swears By all the operations of the orbs, By whom we do exist, and cease to be.

Note return to page 122 [8] 8 &lblank; my hospitable favours] It is nonsense to understand it of gifts, kindnesses, &c. We should read favour, i. e. visage. For they plucked him by the beard.

Note return to page 123 [a] [(a) simple-answer'd. Oxford Editor—Vulg. simple-answerer.]

Note return to page 124 [9] 9 The sea, &lblank; &lblank; would have buoy'd up, And quench'd the stelled fires;] The word buoy'd cannot be applied to water, but to something in it specifically lighter. Besides its buoying up, i. e. not subsiding, had not a tendency to effect what he talks of. We should read, &lblank; boil'd up.

Note return to page 125 [1] 1 stelled, spelt right by Mr. Theobald.

Note return to page 126 [2] 2 All cruels else subscrib'd; &lblank;] Subscribe, for soften.

Note return to page 127 [1] 1 &lblank; O world! But that thy strange Mutations make us hate thee, Life would not yield to age.] The sense of this obscure passage is, O world! so much are human minds captivated with thy pleasures that were it not for those successive miseries, each worse than the other, which overload the scenes of life, we should never be willing to submit to death, tho' the infirmities of old age would teach us to chuse it as a proper asylum. Besides, by uninterrupted prosperity, which leaves the mind at ease, the body would generally preserve such a state of vigour as to bear up long against the decays of time. These are the two reasons, I suppose, why he said, Life would not yield to age. And how much the pleasures of the body pervert the mind's judgment, and the perturbations of the mind disorder the body's frame, is known to all. Shakespear seems to allude to this thought in the two last lines of the play; The oldest hath borne most; we, that are young, Shall never see so much, nor live so long. Why not? Because these misfortunes, which the publick distractions of civil war bring along with them to the subject, came to those first mentioned, in their old age, but to these, in the vigour of their life, which would so break them, that they should never arrive at the age of their fathers. But the Oxford Editor alters the last line to, Shall never see so much, live e'er so long; And so deprives the concluding words (which were always designed to convey a sentiment of instruction) of all thought; or at best gives it a trivial and a false one.

Note return to page 128 [2] 2 Our mean secures us; &lblank;] i. e. moderate, mediocre condition.

Note return to page 129 [3] 3 &lblank; who is't can say, I'm at the worst? &lblank; the worst is not, So long as we can say, this is the worst.] i. e. While we live; for while we yet continue to have a sense of feeling, something worse than the present may still happen. What occasion'd this reflexion was his rashly saying in the beginning of this scene, &lblank; To be worst, The lowest, most dejected thing of fortune, &c. The wretch, that thou hast blown unto the worst.

Note return to page 130 [a] [(a) Ang'ishing. Oxford Editor.—Vulg. Ang'ring.

Note return to page 131 [4] 4 &lblank; I cannot daub it &lblank;] i. e. Disguise.

Note return to page 132 [5] 5 possesses chamber-maids and waiting-women.] Shakespear has made Edgar, in his feigned distraction, frequently allude to a vile imposture of some English Jesuits, at that time much the subject of conversation; the history of it having been just then composed with great art and vigour of stile and composition by Dr. S. Harsenet, afterwards archbishop of York, by order of the Privy-Council, in a work intitled, A Declaration of egregious Popish impostures, to withdraw her Majesty's subjects from their Allegiance, &c. under pretence of casting out devils, practised by Edmunds, alias Weston, a Jesuit, and divers Romish Priests his wicked associates. Printed 1603. The imposture was in substance this, while the Spaniards were preparing their Armado against England, the Jesuits were here busy at work to promote it, by making converts; one method they employed was to dispossess pretended demoniacks, by which artifice they made several hundred converts amongst the common people. The principal scene of this farce was laid in the family of one Mr. Edmund Peckham, a Roman Catholick, where Marwood, a servant of Anthony Babington's, (who was afterwards executed for Treason) Trayford, an attendant upon Mr. Peckham, and Sarah and Friswood Williams, and Anne Smith, three chambermaids in that family, were supposed to be possessed with Devils, and came into the Priest's hands for cure. But the discipline of the patients was so long and severe, and the Priests so elate and careless with their success, that the plot was discovered on the confession of the parties concerned, and the contrivers of it deservedly punished. The five Devils here mentioned, are the names of five of those who were made to act in this farce upon the chamber-maids and waiting-women; and they were generally so ridiculously nicknamed, that Harsenet has one chapter on the strange names of their Devils; lest, says he, meeting them otherwise by chance, you mistake them for the name of Tapsters or Jugglers.

Note return to page 133 [6] 6 Let the superfluous, and lust dieted man, That slaves your ordinance.] Superfluous is here used for one living in abundance. But the next line is corrupt. The only sense I know of, in which slaves your ordinance can be understood, is when men employ the form or semblance of religion to compass their ill designs. But this will not do here. Glo'ster is speaking of such who by an uninterrupted course of prosperity are grown wanton, and callous to the misfortunes of others; such as those who fearing no reverse, slight and neglect, and therefore may be said to brave the ordinance of heaven. Which is certainly the right reading And this is the second time in which slaves has, in this play, been read for braves.

Note return to page 134 [7] 7 &lblank; I fear your disposition:] These and the speech ensuing are in the edition of 1608, and are but necessary to explain the reasons of the detestation which Albany here expresses to his wife. Mr. Pope.

Note return to page 135 [8] 8 Cannot be border'd certain &lblank;] Certain, for within the bounds that nature prescribes.

Note return to page 136 [9] 9 She that herself will shiver, and disbranch,] Thus all the Editions, but the old quarto, that reads sliver, which is right. Shiver means to shake or fly a-pieces ino splinters. As he says afterwards, Thou'd'st shiver'd like an egg. But sliver signifies to tear off or disbranch. So in Mackbeth, &lblank; slips of yew Sliver'd in the moon's eclipse.

Note return to page 137 [1] 1 From her material sap, &lblank;] Thus all the Editions 'till Mr. Theobald's, who alters material to maternal; and for these wise reasons, Material sap, (says he) I own is a phrase that I don't understand. The mother-tree is the true technical term, and considering our author had said just before, That Nature, which contemns its origine—there is no room to question but he wrote, From her maternal sap. And to prove that we may say maternal sap, he gives many authorities from the classics, and says he could produce more, where words equivalent to maternal stock are used; which is quite another thing, as we shall now see. In making his emendation, the editor did not consider the difference between material sap and material body, or trunk or stock: The latter expression being indeed not so well; maternal being a properer epithet for body. But the first is right; and we should say, material sap, not maternal. For material sap signifies, that whereby a branch is nourished, and increases in bulk by fresh accession of matter. On which account material is elegant. Indeed sap, when applied to the whole tree, might be called maternal, but could not be so when applied to a branch only. For tho' sap might, in some sense, be said to be maternal to the tree, yet it is the tree that is maternal to the branch, and not the sap: but here the epithet is applied to the branch. From all this, we conclude that the old reading is the true. But what if, after all, material was used by the writers of these times in the very sense of maternal? It would seem so by the title of an old English translation of Froissart's Chronicle, which runs in these words, Syr John Froissart's Chronicle translated out of Frenche into our material English Tongue by John Bouchier, printed 1525.

Note return to page 138 [2] 2 And come to deadly use.] Alluding to the use that witches and inchanters are said to make of wither'd branches in their charms. A fine insinuation in the speaker, that she was ready for the most unnatural mischief, and a preparative of the poet to her plotting with the bastard against her husband's life.

Note return to page 139 [3] 3 A man, a Prince by him so benefited?] After this line, I suspect a line or two to be wanting, which upbraids her for her sister's cruelty to Glo'ster. And my reason is, that in her answer we find these words, Fools do these villains pity, who are punish'd Ere they have done their mischief &lblank; which evidently allude to Glo'ster's case. Now I cannot conceive that she would here apologize for what was not objected to her. But I suppose the Players thought the speech too long; which has occasion'd thro'out, and more particularly in this play, the retrenchment of numerous lines and speeches; many of which have been restored by the care and discernment of Mr. Pope.

Note return to page 140 [4] 4 Proper deformity &lblank;] i. e. diabolic qualities appear not so horrid in the devil to whom they belong, as in woman who unnaturally assumes them.

Note return to page 141 [5] 5 Scene III.] This Scene left out in all the common books, is restored from the old edition; it being manifestly of Shakespear's writing, and necessary to continue the story of Cordelia, whose behaviour is here most beautifully painted. Mr. Pope.

Note return to page 142 [6] 6 &lblank; her Smiles and Tears Were like a better day. &lblank;] It is plain, we should read, &lblank; a wetter may. &lblank; i. e. a spring season wetter than ordinary.

Note return to page 143 [7] 7 Made she no verbal question?] Why, what kind of question could she make but verbal? Does not the word question imply it. This is enough to prove something wrong. The answer shews where it is. For tho' the Gentleman says yes to the question; yet, instead of proving his words, he runs out into a long story of Cordelia's complaints and exclamations. The question then evidently was, Made she no verbal quest? From questus, complaint, i. e. did she lament and complain in words? And this was a proper question, because she might have done it in sighs, and inarticulate exclamations. The answer too, is proper, and to the point, as the reader may see. But the editors not understanding the short word quest, lengthened it into one, they did: And so made Kent ask a nonsensical question, and the Gentleman give as impertinent an answer.

Note return to page 144 [8] 8 And, Clamour-moisten'd,] Tho' Clamour may distort the mouth, it is not wont to moisten the eyes. Read clamour-motion'd, which conveys a very beautiful idea of grief in Cordelia, and exactly in character. She bore her grief hitherto, says the relater, in silence; but being no longer able to contain it, she flies away, and retires to her closet to deal with it in private. This he finely calls, Clamour-motion'd; or provok'd to a loud expression of her sorrow, which drives her from company.

Note return to page 145 [9] 9 It is the stars, &c.] See the note Act I. Scene 8.

Note return to page 146 [1] 1 Else one self-mate and mate &lblank;] Self, for self-same, i. e. one mate the self-same with the other. Because if the parents were of different conditions, so might the issue; some resembling the father, some the mother.

Note return to page 147 [2] 2 &lblank; These things sting him So venomously, that burning shame &lblank;] The metaphor here preserved with great knowledge of nature. The venom of poisonous animals being a high caustic salt, that has all the effect of fire upon the part.

Note return to page 148 [3] 3 'Tis so they are a-foot.] This is no answer to the question. We should read, 'Tis said they are a-foot.

Note return to page 149 [4] 4 &lblank; Some dear cause] Dear, for important.

Note return to page 150 [5] 5 She gave him œiliads] Oeillades, French, for glances. Mr. Pope.

Note return to page 151 [6] 6 idle pebbles] Idle, for barren, uncultivated.

Note return to page 152 [7] 7 &lblank; for all below the moon Would I not leap upright.] But what danger in leaping upright or upwards? He who leaps thus must needs fall again on his feet upon the place from whence he rose. We should read, Would I not leap outright. i e. forward: and then being on the verge of a precipice he must needs fall headlong.

Note return to page 153 [8] 8 Ten masts at each make not the altitude,] So Mr. Pope found it in the old editions; and seeing it corrupt, judiciously corrected it to attacht. But Mr. Theobald restores again the old nonsense, at each.

Note return to page 154 [9] 9 Horns welk'd,] i. e. twisted. Mr. Pope.

Note return to page 155 [1] 1 Think, that the clearest gods,] Clearest, for most righteous.

Note return to page 156 [2] 2 The safer sense will ne'er accommodate] Without doubt Shakespear wrote, &lblank; the sober sense, i. e. while the understanding is in a right frame it will never thus accommodate its owner: alluding to Lear's extravagant dress. Thence he concludes him to be mad.

Note return to page 157 [4] 4 O well flown Bird,] Lear is here raving of archery, and shooting at buts, as is plain by the words i' th' clout, that is, the white mark they set up and aim at: hence the phrase, to hit the white. So that we must read, O well-flown, Barb! i. e. the barbed, or bearded Arrow.

Note return to page 158 [4] 4 The trick of that voice] i. e. the particular tone and manner of speaking. As the air of a face signifies the particular turn and spirit of the features.

Note return to page 159 [5] 5 Whose face 'tween her forks] i. e. her hand held before her face in sign of modesty, with the fingers spread out, forky.

Note return to page 160 [6] 6 The fitchew,] A kind of Polecat. Mr. Pope.

Note return to page 161 [7] 7 nor the soyled horse,] I read stalled horse.

Note return to page 162 [8] 8 &lblank; I'll able 'em;] An old phrase signifying to qualify, or uphold them. So Scogan, contemporary with Chaucer, says, Set all my life after thyne ordinaunce, And able me to mercie or thou deme. But the Oxford Editor alters it, to absolve.

Note return to page 163 [9] 9 Who, by the art of known and feeling sorrows,] i. e. sorrows past and present; But the Oxford Editor loses all this sense, by altering it to &lblank; knowing and feeling.

Note return to page 164 [1] 1 Briefly thy self remember:] i. e. quickly recollect the past offences of thy life, and recommend thy self to heaven.

Note return to page 165 [2] 2 To know our enemies' minds, we rip their hearts; Their papers are more lawful.] This is darkly expressed: The meaning is, Our enemies are put upon the rack, and torn in pieces to extort confession of their secrets; to tear open their letters is more lawful.

Note return to page 166 [3] 3 Oh, undistinguish'd space of woman's Wit!] So the fist Quarto reads, but the first Folio better, Will. I have no idea of the meaning of the first reading, but the other is extremely satirical; the varium & mutabile semper, of Virgil, more strongly and happily expressed. The mutability of a woman's Will, which is so sudden that there is no space or distance between the present Will and the next. Honest Sancho explains this thought with infinite humour, Entre el si y el no de la muger, no me atreveria yo à poner una punta d' Alfiler. Between a woman's yes and no I would not undertake to thrust a pin's point.

Note return to page 167 [4] 4 &lblank; and have ingenious Feeling] Ingenious feeling signifies a feeling from an understanding not disturbed or disordered, but which, representing things as they are, makes the sense of pain the more exquisite.

Note return to page 168 [5] 5 &lblank; shortens my made intent;] There is a dissonancy of terms in made intent; one implying the idea of a thing done, the other, undone. I suppose Shakespear wrote laid intent; i. e. projected.

Note return to page 169 [6] 6 &lblank; Restauration, hang Thy medicine on my lips; &lblank;] This is fine. She invokes the Goddess of Health, Hygieia, under the name of Restauration, to make her the minister of her Rites, in this holy office of recovering her father's lost senses.

Note return to page 170 [7] 7 &lblank; To watch poor Perdue: With this thin helm? &lblank;] It ought to be read and pointed thus, &lblank; To watch, poor Perdu! With this thin Helm? &lblank; The allusion is to the forlorn-hope in an army, which are put upon desperate adventures, and called in French, enfans perdus; she therefore calls her father poor Perdu; Perdue, which is the common reading, being the feminine. These enfans perdus being always slightly and badly armed, is the reason she adds, With this thin Helm &lblank; i. e. bareheaded.

Note return to page 171 [8] 8 Had not concluded all &lblank;] All what? we should read and point it thus, Had not concluded. &lblank; Ah! &lblank; An exclamation on perceiving her father wake.

Note return to page 172 [9] 9 To make him even o'er the Time, &lblank;] i. e. to reconcile it to his apprehension.

Note return to page 173 [1] 1 Sir, this I hear, &lblank; to &lblank; make oppose, &lblank;] This is a very plain speech, and the meaning is, The King and others whom we have opposed, are come to Cordelia. I could never be valiant but in a just quarrel. We must distinguish; it is just in one sense and unjust in another. As France invades our land I am concerned to repel him, but as he holds, entertains and supports the King, and others whom I fear many just and heavy causes make, or compel, as it were, to oppose us, I esteem it unjust to engage against them. This speech, thus interpreted according to the common reading, is likewise very necessary; for otherwise, Albany, who is characteris'd as a man of honour and observer of justice, gives no reason for going to war with those, whom he owns had been much injured under the countenance of his power. Notwithstanding this, Mr. Theobald, by an unaccountable turn of thought, reads the fourth line thus, I never yet was valiant: 'fore this business, &c. puts the two last lines in a parenthesis, and then paraphrases the whole in this manner. Sir, it concerns me (tho' not the King and the discontented party) to question about your interest in our sister, and the event of the war. What he means by this I am not able to find out; but he gives a reason why his reading and sense should be preferred. And Regan and Gonerill in their replies seem both apprehensive that this subject was coming into debate. Now all that we can collect from their replies, is that they were apprehensive he was going to blame their cruelty to Lear, Glo'ster, and others; which it is plain, from the common reading and the sense of the last line, he was. Most just and heavy causes make oppose, &lblank;

Note return to page 174 [2] 2 &lblank; Where I could not be honest, &c.] The four next lines are added from the old Edition. Mr. Pope.

Note return to page 175 [3] 3 And take upon's the mystery of things, As if we were God's spies. &lblank;] This whole speech is exquisitely fine, and an admirable description of the idle life of a coffee-house politician. The meaning of these two lines, which are a little ambiguous, is this. We will take upon us to interpret and judge of the designs of Providence in the various fortunes and revolutions of men and governments, as if we were placed for spies over God Almighty, to watch his motions: God's spies signifying either spies employed by him or set upon him, is the occasion of the obscurity.

Note return to page 176 [4] 4 Upon such sacrifices, my Cordelia, The Gods themselves throw incense. &lblank;] The thought is extremely noble, and expressed in a sublime of imag'ry that Seneca fell short of on the like occasion. Ecce spectaculum dignum ad quod respiciat, intentus operi suo Deus: Ecce par Deo dignum, vir fortis cum mala fortuna compositus.

Note return to page 177 [a] [(a) goujeres. [french pox.] Oxford Editor—Vulg. good-jers.

Note return to page 178 [5] 5 &lblank; thy great Employment Will not bear question; &lblank;] Mr. Theobald could not let this alone, but would alter it to &lblank; My great Employment, Because (he says) the person spoken to was of no higher degree than a captain. But he mistakes the meaning of the words. By great Employment was meant the commission given him for the murder; and this, the Bastard tells us afterwards, was signed by Gonerill and himself. Which was sufficient to make this Captain unaccountable for the execution.

Note return to page 179 [6] 6 Bore the Commission of &lblank;] Commission, for authority.

Note return to page 180 [7] 7 The which immediacy &lblank;] Immediacy, for representation.

Note return to page 181 [8] 8 &lblank; the walls are thine:] A metaphorical phrase taken from the camp, and signifying, to surrender at discretion. But the Oxford Editor, for a plain reason, alters it to, &lblank; they all are thine.

Note return to page 182 [9] 9 Behold, it is the privilege of mine Honours, My Oath, and my Profession. &lblank;] The charge he is here going to bring against the Bastard, he calls the privilege, &c. To understand which phraseology, we must consider that the old Rites of Knighthood are here alluded to; whose oath and profession required him to discover all treasons, and whose privilege it was to have his challenge accepted, or otherwise to have his charge taken pro confesso. For if one who was no Knight accused another who was, that other was under no obligation to accept the challenge. On this account it was necessary as Edgar came disguised, to tell the Bastard he was a Knight.

Note return to page 183 [1] 1 And that thy tongue some 'Say of Breeding breathes;] 'Say, for Essay, some shew or probability. Mr. Pope.

Note return to page 184 [2] 2 &lblank;This would have seem'd a Period To such as love not sorrow: But Another, To amplify too much, would make much more, And top extremity! &lblank;] The reader easily sees that this reflexion refers to the Bastard's desiring to hear more; and to Albany's thinking he had said enough. But it is corrupted into miserable nonsense. We should read it thus, This would have seem'd a Period. But such As love to amplify another's Sorrow, To much, would make much more, and top extremity. i. e. This to a common humanity would have been thought the utmost of my sufferings; but such as love cruelty are always for adding more to much, till they reach the extremity of misery.

Note return to page 185 [3] 3 &lblank; of difference and decay,] Decay, for misfortunes.

Note return to page 186 [4] 4 What Comfort to this great Decay may come,] Decay, for Desolation.

Note return to page 187 [5] 5 &lblank; friends of my soul,] A Spanish phrase. Amigo de mi alma.

Note return to page 188 [1] 1 But what particular rarity? &c.] Our author, it is observable, has made his poet in this play a knave. But that it might not reflect upon the profession, he has made him only a pretender to it, as appears from his having drawn him, all the way, with a false taste and judgment. One infallible mark of which, is a fondness for every thing strange, surprizing and portentous; and a disregard for whatever is common, or in nature. Shakespear therefore has with great delicacy of judgment put his poetaster upon this inquiry.

Note return to page 189 [2] 2 When we for recompence &c.] We must here suppose the poet busy reading his own work; and that these three lines are the introduction of the poem addressed to Timon, which he afterwards gives the painter an account of.

Note return to page 190 [3] 3 Each Bound it chafes.] Thus the folio reads, and rightly.

Note return to page 191 [4] 4 This comes off well and excellent.] By this we are to understand what the painters call the goings off of a picture, which requires the nicest execution.

Note return to page 192 [5] 5 &lblank; how this grace Speaks its own standing?] This relates to the attitude of the figure; and means that it stands judiciously on its own centre. And not only so, but that it has a graceful standing likewise. Of which the poet in Hamlet, speaking of another picture, says, A Station like the Herault, Mercury, New-lighted on a heav'n-kissing hill. which lines Milton seems to have had in view, where he says of Raphael, At once on th' eastern Cliff of Paradise He lights, and to his proper shape returns. —Like Maia's son he stood.

Note return to page 193 [6] 6 &lblank; artificial strife] Strife, for action or motion.

Note return to page 194 [a] [(a) &lblank; man. Mr. Theobald.—Vulg. men.]

Note return to page 195 [7] 7 In a wide sea of wax;] Anciently they wrote upon waxen tables with an iron stile. Oxford Editor.

Note return to page 196 [8] 8 &lblank; no levell'd malice] Why this epithet to malice? which belongs to all actions whatsoever, which have their aim or level. Shakespear wrote, &lblank; no leven'd malice, which is not only a proper epithet for the acidity of that passion, but answers well to the next words infects, and, leaving no tract behind, as any thing fermenting or corrosive does.

Note return to page 197 [a] [(a) &lblank; natures. Oxford Editor.—Vulg. creatures.]

Note return to page 198 [9] 9 Than to abhor himself; &lblank;] For, to quarrel with himself.

Note return to page 199 [1] 1 To propagate their states;] To propagate, for to make.

Note return to page 200 [2] 2 In our condition.] Condition, for art.

Note return to page 201 [3] 3 Rain sacrificial whisp'rings in his ear;] The sense is obvious, and means, in general, flattering him. The particular kind of flattery may be collected from the circumstance of its being offered up in whispers: Which shews it was the calumniating those whom Timon hated or envied, or whose vices were opposite to his own. This offering up, to the person flattered, the murder'd reputation of others, Shakespear with the utmost beauty of thought and expression calls sacrificial whisp'rings, alluding to the victims offer'd up to Idols.

Note return to page 202 [4] 4 Therefore he will be. Timon.] The thought is closely express'd, and obscure: but this seems the meaning. If the man be honest, my lord, for that reason he will be so in this; and not endeavour at the injustice of gaining my daughter without my consent.

Note return to page 203 [5] 5 &lblank; never may That state, or fortune, fall into my keeping, Which is not ow'd to you!] i. e. may I never have any accession of fortune which you are not the author of. An odd strain of complaisance. We should read, Which is not own'd to you. i. e. which I will not acknowledge you laid the foundation of in this generous act.

Note return to page 204 [6] 6 Enter Apemantus.] See this character of a Cynic finely drawn by Lucian, in his Auction of the Philosophers; and how well Shakespear has copied it.

Note return to page 205 [7] 7 Tim. Good morrow to thee, gentle Apemantus! Apem. Till I be gentle, stay for thy good morrow; When thou art Timon's dog, and these knaves honest.] The first line of Apemantus's answer is to the purpose; the second absurd and nonsensical; which proceeds from the loss of a speech dropt from between them, that should be thus restored, Tim. Good morrow to thee, gentle Apemantus! Apem. 'Till I be gentle, stay for thy good morrow. [Poet. When will that be?] Apem. When thou art Timon's dog, and these knaves honest.

Note return to page 206 [8] 8 That I had no angry wit, to be a lord.] This reading is absurd, and unintelligible. But, as I have restor'd the text, it is satirical enough of conscience, viz. I would hate myself, for having no more wit than to covet so insignificant a title. In the same sense Shakespear uses lean-witted in his Richard IId. And thou a lunatick, lean-witted, fool.

Note return to page 207 [9] 9 All use of quittance.] i. e. All the customary returns made in discharge of obligations.

Note return to page 208 [1] 1 If our Betters play at that game, we must not dare To imitate them. Faults that are rich are fair.] These two lines are absurdly given to Timon. They should be read thus, Tim. If our betters play at that game, we must not. Apem. Dare to imitate them: faults that are rich are fair. This is said satirically and in character. It was a sober reflection in Timon; who by our betters meant the Gods, which require to be repaid for benefits received; but it would be impiety in men to expect the same observance for the trifling good they do Apemantus, agreeably to his character, perverts this sentiment; as if Timon had spoke of earthly grandees and potentates, who expect largest returns for their favours; and therefore, ironically, replies as above.

Note return to page 209 [2] 2 Recanting goodness, sorry ere 'tis shewn:] Goodness, for beneficence.

Note return to page 210 [3] 3 I scorn thy meat, 'twould choak me: for I should ne'er flatter thee.] A very pretty reason why his meat would choak him, because he should never flatter him. We should read and point this nonsense thus, I scorn thy meat: t'would choak me 'fore I should e'er flatter thee. i. e. before I should ever flatter thee.

Note return to page 211 [4] 4 he cheers them up too.] I believe Shakespear wrote up to't.

Note return to page 212 [5] 5 how had you been my friends else? why have you that charitable title from thousands,] The Oxford Editor alters charitable title to character and title. He did not know that charitable signifies dear, endearing: nor consequently understood what Milton meant by, Relations dear, and all the Charities Of father, son, and brother &lblank; Alms, in English, are called Charities, and from thence we may collect that our ancestors knew well in what the virtue of alms-giving consisted; not in the act, but the disposition.

Note return to page 213 [a] [(a) made a joy. Oxford Editor—Vulg. made away.

Note return to page 214 [b] [(b) Thou weep'st but to make them drink thee. Oxford Editor—Vulg. Thou weep'st to make them drink]

Note return to page 215 [6] 6 There taste, touch, all pleas'd from thy Table rise, They only now &lblank;] The five senses are talked of by Cupid, but three of them only are made out; and those in a very heavy unintelligible manner. It is plain therefore we should read, th' ear, taste, touch, smell, pleas'd from thy Table rise, these only now &c. i. e. the five senses, Timon, acknowledge thee their patron; four of them, viz. the hearing, touch, taste and smell, are all feasted at thy board; and these ladies come with me to entertain your sight in a Masque. Massinger, in his Duke of Millaine, copied the passage from Shakespear; and, apparently, before it was thus corrupted; where, speaking of a banquet, he says, &lblank; All that may be had To please the eye, the ear, taste, touch or smell, Are carefully provided. &lblank;

Note return to page 216 [7] 7 They dance, they are mad women. Like madness, is the glory of this life; As this pomp shews to a little oyl and root.] This is Apemantus's reflection on the Mask of Ladies: and, for its obscurity, would become any pagan philosopher. The first line is a compleat sentence: the second is the beginning of a new reflection; and the third, the conclusion of it by a similitude. Hence it appears, that some lines are dropt out and lost from between the second and third verses. I conjecture the sense of the whole might be this, The glory of human life is like the madness of this Mask; it is a false aim at happiness, which is to be obtained only by sobriety and temperance in a private and retired life. But superficial judges will always prefer pomp and glory; because in outward appearance it has so greatly the advantage: as great as this pompous supper appears to have above my oil and root. This, in my opinion, was the sentiment that connected the second and third lines together: which for the future should be read with asterisks between them.

Note return to page 217 [8] 8 Upon whose age we void it &lblank;] Age, for decay of fortune, poverty.

Note return to page 218 [a] [(a) Me near? Oxford Editor—Vulg. near.]

Note return to page 219 [a] [(a) My thanks. Oxford Editor—Vulg. methinks]

Note return to page 220 [6] 6 Serving of becks &lblank;] This nonsense should be read, Serring of becks. &lblank; from the French, serrer, to join close together. A metaphor taken from the billing of pigeons.

Note return to page 221 [7] 7 I fear me, thou wilt give away thyself in paper shortly.] i. e. be ruin'd by his securities entered into. But this sense is flat, and relishes very little of the salt in Apemantus's other reflections. We should read, &lblank; give away thy self in proper shortly. i. e. in person; thy proper self. This latter is an expression of our author's in the Tempest; And ev'n with such like valour men hang and drown Their proper selves.

Note return to page 222 [a] [(a) Ten. Mr. Theobald.—Vulg. An.]

Note return to page 223 [1] 1 Who flashes now a Phœnix] Alluding not only to the beautiful plumes of that imaginary bird, but to the story of its being born in flames.

Note return to page 224 [a] [(a) Compt. Mr. Theobald.—Vulg. come.]

Note return to page 225 [2] 2 &lblank; never Mind. Was, to be so unwise, to be so kind.] Nothing can be worse, or more obscurely expressed: And all for the sake of a wretched rhime. To make it sense and grammar, it should be supplied thus, &lblank; never Mind Was [made] to be so unwise, [in order] to be so kind. i. e. Nature in order to make a profuse mind never before endowed any man with so large a share of folly.

Note return to page 226 [3] 3 'Would, we could see you at Corinth.] A cant name for a bawdy-house, I suppose from the dissoluteness of that ancient Greek city; Of which Alexander ab Alexandro has these words, Corinthi super mille Prostitutæ in Templo Veneris assiduæ degere, & inflammata libidine quæstui meretricio operam dare, et velut Sacrorum Ministræ Deæ famulari solebunt. Milton in his Apology for Smectymnuus, says, Or searching for me at the Bordellos, where it may be he has lost himself, and raps up, without pity, the sage and rheumatick old Prelatess, with all her young Corinthian Laity, to enquire for such a one.

Note return to page 227 [4] 4 Though you hear now too late, yet now's a time;] i. e. Tho' it be now too late to retrieve your former fortunes, yet it is not too late to prevent, by the assistance of your friends, your future miseries. Had the Oxford Editor understood the sense, he would not have alter'd the text to, Though you hear me now, yet now's too late a time.

Note return to page 228 [5] 5 &lblank; and at length How goes our reck'ning?] This Steward talks very wildly. The Lord indeed might have asked, what a Lord seldom knows, How goes our reck'ning? But the Steward was too well satisfied in that matter. I would read therefore, Hold good our reck'ning? The Oxford Editor would appropriate this emendation to himself, by altering it to, make good.

Note return to page 229 [6] 6 O my good lord, the world is but a world;] The Folio reads, &lblank; but a word; And this is the right. The meaning is, as the world itself may be comprised in a word, you might give it away in a breath.

Note return to page 230 [7] 7 &lblank; a wasteful cock,] i. e. a cockloft, a garret. And a wasteful cock signifies a garret lying in waste, neglected, put to no use. Oxford Editor.

Note return to page 231 [8] 8 &lblank; canst thou the conscience lack,] Conscience, for faith.

Note return to page 232 [9] 9 And try the arguments &lblank;] Arguments, for natures.

Note return to page 233 [1] 1 I know it the most gen'ral way] Gen'ral, for speedy.

Note return to page 234 [2] 2 &lblank; and these hard fractions,] An equivocal allusion to fractions in decimal arithmetick. So Flavius had, like Littlewit in Bartholomew-Fair, a conceit left in his misery.

Note return to page 235 [3] 3 Have their Ingratitude in them hereditary:] Hereditary, for by natural constitution. But some distempers of natural constitution being called hereditary, he calls their Ingratitude so.

Note return to page 236 [1] 1 And we alive that liv'd?] i. e. And we who were alive then, alive now. As much as to say, in so short a time.

Note return to page 237 [a] [(a) Of nurture. Oxford Editor.—Vulg. Of nature.]

Note return to page 238 [2] 2 yet had he mistook him, and sent him to me,] We should read, —mislook'd him, i. e. overlook'd, neglected to send to him.

Note return to page 239 [a] [(a) &lblank;fifty times five hundred. Oxford Editor.—Vulg. fifty five hundred]

Note return to page 240 [3] 3 If his occasion were not virtuous,] Virtuous, for strong, forceable, pressing.

Note return to page 241 [4] 4 &lblank; half so faithfully.] Faithfully, for fervently. Therefore, without more ado, the Oxford Editor alters the text to fervently. But he might have seen, that Shakespear used faithfully for servently, as in the former part of the sentence he had used virtuous for forceable.

Note return to page 242 [5] 5 &lblank; is every flatterer's sport.] Read spirit.

Note return to page 243 [6] 6 &lblank; (in respect of his)] i. e. considering Timon's claim for what he asks.

Note return to page 244 [a] [(a) &lblank; have attorn'd to him. Oxford Editor—Vulg. have return'd to him.]

Note return to page 245 [7] 7 will set him clear.] Set him clear does not mean acquit him before heaven; for then the Devil must be supposed to know what he did: But it signifies puzzle him, outdo him at his own weapons.

Note return to page 246 [8] 8 takes virtuous copies to be wicked: like those, &c.] This is a reflection on the Puritans of that time. These people were then set upon a project of new-modelling the ecclesiastical and civil government according to scripture rules and examples. Which makes him say, that under zeal for the word of God, they would set whole realms on fire. So Sempronius pretended to that warm affection and generous jealousy of friendship, that is affronted, if any other be applied to before it. At best the similitude is an aukward one: but it fitted the audience, tho' not the Speaker.

Note return to page 247 [9] 9 Your master's confidence &lblank;] Play on the word confidence.

Note return to page 248 [1] 1 &lblank; setting his fault aside.] We must read, &lblank; this fault. &lblank;

Note return to page 249 [2] 2 &lblank; and unnoted passion] Unnoted, for common, bounded.

Note return to page 250 [3] 3 He did behave his anger] Behave, for curb, manage. But the Oxford Editor equips the old Poet with a more modish phrase, He did behave in's anger &lblank; A paltry clipt jargon of modern fops, for behave himself.

Note return to page 251 [4] 4 &lblank; and make his wrongs His outsides; wear them like his raiment, carelesly;] It should be read and pointed thus, &lblank; and make his wrongs His outside wear; hang like his rayment, carlesly.

Note return to page 252 [5] 5 &lblank; sin's extremest gust,] Gust, for aggravation.

Note return to page 253 [6] 6 &lblank; by mercy, 'tis most just.] By mercy is meant equity. But we must read, &lblank; 'tis made just.

Note return to page 254 [7] 7 He's a sworn rioter; he has a sin That often drowns him, and takes valour prisoner.] What is a sworn rioter? We should read, He's a swoln rioter. &lblank; that is, given to all excesses, as he says of another in another place, so surfeit-swoln or swell'd.

Note return to page 255 [8] 8 And cherish factions. &lblank;] Factions, for tumults.

Note return to page 256 [9] 9 &lblank; I should prove so base,] Base, for dishonour'd.

Note return to page 257 [1] 1 And, (not to swell our spirit,)] What this nonsense was intended to mean I don't know; but 'tis plan Shakespear wrote, And now to swell your spirit, i. e. to provoke you still more.

Note return to page 258 [2] 2 &lblank; and lay for hearts. 'Tis honour with most lands to be at odds]But surely, even in a soldier's sense of honour, there is very little in being at odds with all about him: which shews rather a quarrelsome disposition than a valiant one. Besides, this was not Alcibiades' case. He was only fallen out with the Athenians. A phrase in the foregoing line will direct us to the right reading. I will lay, says he, for hearts; which is a metaphor taken from card-play, and signifies to game deep and boldly. It is plain then the figure was continued in the following line, which should be read thus, 'Tis honour with most hands to be at odds; i. e. to fight upon odds, or at disadvantage; as he must do against the united strength of Athens: And this, by soldiers, is accounted honourable. Shakespear uses the same metaphor, on the same occasion, in Coriolanus. He lurch'd all swords.

Note return to page 259 [1] 1 The rest of your pees.] We should read foes.

Note return to page 260 [2] 2 Is your perfection. &lblank;] Perfection, for exact or perfect likeness.

Note return to page 261 [3] 3 &lblank; and spangled you with flatteries,] We should certainly read, &lblank; and spangled with your flatteries.

Note return to page 262 [1] 1 Act 4. The incidents of almost all the following scenes are taken from the Timon of Lucian.

Note return to page 263 [2] 2 Your potent and infectious fevers &lblank;] This is expressed with knowledge. A fever attending all pestilential distempers.

Note return to page 264 [a] [(a) from his buried fortunes. Oxford Editor—Vulg. to his buried fortunes.]

Note return to page 265 [3] 3 O blessed, breeding sun, &lblank;] The sense, as well as elegance of the expression, requires that we should read, O blessing-breeding sun, &lblank; i. e. Thou that before usedst to breed blessings, now breed curses and contagion; as afterwards he says, Thou sun, that comfort'st, burn.

Note return to page 266 [4] 4 &lblank; not ev'n nature, To whom all sores lay siege, &lblank;] He had said the brother could not bear great fortune without despising his brother. He now goes further, and asserts that even human nature itself cannot bear it, but with contempt of its common nature. The sentence is ambiguous, and, besides that, otherwise obscure. I am persuaded that our author had Alexander here principally in mind; whose uninterrupted course of successes, as we learn from history, turned his head, and made him fancy himself a God, and contemn his human origin. The Poet says, ev'n nature, meaning nature in its greatest perfection: And Alexander is represented by the ancients as the most accomplish'd person that ever was, both for his qualities of mind and body, a kind of masterpiece of nature. He adds, To whom all sores lay siege, &lblank; i. e. Altho' the imbecillity of the human condition might easily have inform'd him of his error. Here Shakespear seems to have had an eye to Plutarch, who, in his life of Alexander, tells us, that it was that which stagger'd him in his sober moments concerning the belief of his Divinity. &gresg;&grl;&gre;&grg;&gre;&grn; &grd;&greg; &grm;&graa;&grl;&gri;&grs;&grt;&gra; &grs;&gru;&grn;&gri;&gre;&grn;&gra;&gri; &grq;&grn;&grh;&grt;&grog;&grst; &grwsg;&grn; &gres;&grk; &grt;&gro;&gruc; &grk;&gra;&grq;&gre;&grua;&grd;&gre;&gri;&grn; &grk;&grag;&gri; &grs;&gru;&grn;&gro;&gru;&grs;&gria;&gra;&grz;&gre;&gri;&grn;&grcolon; &grwr;&grst; &gras;&grp;&grog; &grm;&gri;&grac;&grst; &gres;&grg;&grg;&gri;&grn;&groa;&grm;&gre;&grn;&gro;&grn; &gras;&grs;&grq;&gre;&grn;&gre;&gria;&gra;&grst; &grt;&grhc; &grf;&grua;&grs;&gre;&gri; &grk;&grag;&gri; &grt;&grog; &grp;&gro;&grn;&gro;&gruc;&grn; &grk;&grag;&gri; &grt;&grog; &grhs;&grd;&groa;&grm;&gre;&grn;&gro;&grn;.

Note return to page 267 [5] 5 Raise me this Beggar, and deny't that Lord,] Where is the sense and English of deny't that Lord? Deny him what? What preceding Noun is there, to which the pronoun It is to be referr'd? And it would be absurd to think the Poet meant, deny to raise that Lord. The Antithesis must be, let fortune raise this beggar, and let her strip and despoil that lord of all his pomp and ornaments, &c. which sense is compleated by this slight alteration, &lblank; and denude that lord So lord Rea in his relation of M. Hamilton's plot, written in 1630, All these Hamiltons had denuded themselves of their fortunes and estates. And Charles the First, in his message to the parliament, says, Denude ourselves of all. Clar. Vol. 3. p. 15. Octavo edit. But the Oxford Editor alters it to degrade; for, according to his canon of criticism, a transcriber who blunder'd the right word, whatever it was, into deny't, must needs understand the meaning of denude, tho' it was an old word rarely used; and yet be at a loss for the meaning of degrade, tho' it was a common one; and so changed it to deny't, that has no traces of the word degrade, tho' denude has all the marks of the corruptions proceeding from it.

Note return to page 268 [6] 6 It is the Pasture lards the Beggar's sides,] This, as the editors have order'd it, is an idle repetition at the best; supposing it did, indeed, contain the same sentiment as the foregoing lines. But Shakespear meant a quite different thing: and having, like a sensible writer made a smart observation, he illustrates it by a similitude thus: It is the Pasture lards the Weather's sides, The Want that makes him lean. And the similitude is extremely beautiful, as conveying this satirical reflexion; there is no more difference between man and man in the esteem of superficial or corrupt judgments, than between a fat sheep and a lean one.

Note return to page 269 [7] 7 &lblank; for every greeze of fortune] Greeze, or step or degree. Mr. Pope.

Note return to page 270 [8] 8 No, Gods, I am no idle votarist] This is well explained by the following lines of Persius, &lblank; O si Sub rastro crepet argenti mihi seria dextro Hercule!

Note return to page 271 [9] 9 &lblank; why, this Will lug your priests and servants from your sides:] Aristophanes in his Plutus, Act 5. Scene 2. makes the priest of Jupiter desert his service to live with Plutus.

Note return to page 272 [1] 1 Pluck stout mens' pillows from below their heads.] i. e. men who have strength yet remaining to struggle with their distemper. This alludes to an old custom of drawing away the pillow from under the heads of men in their last agonies, to make their departure the easier. But the Oxford Editor, supposing stout to signify healthy, alters it to sick; and this he calls emending.

Note return to page 273 [2] 2 That makes the wappen'd widow wed again;] Waped or wapen'd signifies both sorrowful and terrified, either for the loss of a good husband, or by the treatment of a bad. But gold, he says, can overcome both her affection and her fears.

Note return to page 274 [3] 3 I am Misanthropos, &lblank;] Moliere has wrote a fine comedy, called from the hero of the piece, The Misanthrope, which our Wycherley has imitated, calling it The Plain-dealer. Now, in fact, it happens, that Moliere's Misanthrope is but a Plain-dealer, and Wycherley's Plain-dealer is a direct Misanthrope. Whether this was owing to the different genius of the nations, or to the different judgments of the poets, I leave for the criticks to determine.

Note return to page 275 [4] 4 To the Fub-fast, and the diet.] One might make a very long and vain search, yet not be able to meet with this preposterous word Fub-fast, which has notwithstanding pass'd current with all the editors. We should read Tub-fast. The author is alluding to the Lues Venerea, and its effects. At that time, the cure of it was perform'd either by Guaiacum, or Mercurial unctions: and in both cases the patient was kept up very warm and close; that in the first application the sweat might be promoted; and lest, in the other, he should take cold, which was fatal. The regimen for the course of Guaiacum (says Dr. Friend in his Hist. of Physick, Vol. 2. p. 380.) was at first strangely circumstantial; and so rigorous, that the patient was put into a dungeon in order to make him sweat; and in that manner, as Fallopius expresses it, the bones and the very man himself was macerated. Wiseman says, in England they used a Tub for this purpose, as abroad, a cave, or oven, or dungeon. And as for the Unction, it was sometimes continued for thirty seven days; (as he observes, p. 375.) and during this time there was necessarily an extraordinary abstinence requir'd. Hence the term of the Tub-fast.

Note return to page 276 [5] 5 Be as a planetary plague, when Jove Will o'er some high-vic'd city hang his poison In the sick air: &lblank;] This is wonderfully sublime and picturesque.

Note return to page 277 [6] 6 That through the window-barn] How the words come to be blunder'd into this strange nonsense, is hard to conceive. But it is plain Shakespear wrote, &lblank; Window-lawn, &lblank; i. e. lawn almost as transparent as glass windows.

Note return to page 278 [a] [(a) extort their mercy. Oxford Editor.—Vulg. exhaust their mercy.]

Note return to page 279 [7] 7 And to make whore a bawd.] The power of gold, indeed, may be suppos'd great, that can make a whore forsake her trade; but what mighty difficulty was there in making a whore turn bawd? And yet, 'tis plain, here he is describing the mighty power of gold. He had before shewn, how gold can persuade to any villany; he now shews that it has still a greater force, and can even turn from vice to the practice, or, at least, the semblance of virtue. We must therefore read, to restore sense to our author, And to make whole a Bawd &lblank; i. e. not only make her quit her calling, but thereby restore her to reputation.

Note return to page 280 [8] 8 &lblank; yet may your pains six months Be quite contrary &lblank;] This is obscure, partly from the ambiguity of the word pains, and partly from the generality of the expression. The meaning is this, he had said before, follow constantly your trade of debauchery: that is, (says he) for six months in the year. Let the other six be employed in quite contrary pains and labour, namely, in the severe discipline necessary for the repair of those disorders that your debaucheries occasion, in order to fit you anew to the trade; and thus let the whole year be spent in these different occupations. On this account he goes on, and says, Make false hair &c. But for, pains six months, the Oxford Editor reads, pains exterior. What he means I know not.

Note return to page 281 [9] 9 &lblank; that his particular to foresee] In this beautiful passage there is a strange jumble of metaphors. To smell in order to foresee, is using the benefit of the senses in a very absurd way. The sense too, is as bad as the expression: Men do not forsake and betray the public in order to foresee their own particular advantage, but to provide for it. Foreseeing is not the consequence of betraying, but one of the causes of it. Without doubt we should read, Of him, that, his particular to forefend, Smells from the gen'ral weal &lblank; i. e. provide for, secure. Forefend has a great force and beauty in this place, as signifying not barely to secure, but to make a previous provision for securing.

Note return to page 282 [1] 1 Whose womb unmeasurable, and infinite breast] This image is taken from the ancient statues of Diana Ephesia Multimammia, called &grp;&gra;&grn;&gra;&gria;&gro;&grl;&gro;&grst; &grf;&grua;&grs;&gri;&grst; &grp;&graa;&grn;&grt;&grw;&grn; &grM;&grha;&grt;&grh;&grr;; and is a very good comment on those extraordinary figures. See Montfaucon. l' Antiquité expliquée, l. 3. c. 15. Hesiod alluding to the same representations, calls the earth &grG;&grA;&grI;&grap; &grE;&grU;&grR;&grU;&grS;&grT;&grE;&grR;&grN;&grO;&grST;.

Note return to page 283 [2] 2 below crisp heav'n,] We should read cript, i. e. vaulted, from the Latin Crypsa, a vault.

Note return to page 284 [3] 3 Let it no more bring out ungrateful man.] This is an absurd reading. Shakespear wrote, &lblank; bring out to ungrateful man, i. e. fruits for his sustinence and support; but let it rather teem with monsters to his destruction. Nor is it to be pretended that this alludes to the fable: For he is speaking of what the earth now brings forth; which thought he repeats afterwards, Dry up thy harrow'd veins, and plow-torn leas, &c.

Note return to page 285 [4] 4 &lblank; whom thy upward-face] Upward-face, for surface.

Note return to page 286 [5] 5 Dry up thy marrows veins and plow-torn leas,] The integrity of the metaphor absolutely requires that we should read, Dry up thy harrow'd veins, and plow-torn leas. Mr. Theobald owns that this gives a new beauty to the verse, yet as unctious morsels follows, marrows might have gone before, and mean the fat of the land. That is, because there is a metaphor afterwards that suits it, it may be admitted, tho' it violates the metaphor in the place it is used in. But this unhappy critic never consider'd that men ought to earn this fat before they eat it. From this emendation the Oxford Editor has sprung another, and reads, Dry up thy Meadows, Vineyards &lblank;

Note return to page 287 [6] 6 Hug their diseas'd perfumes, &lblank;] Diseas'd, for causing diseases. This is, indeed, verbum ardens; and has something of greater force than Virgil's Nec casiâ liquidi corrumpitur usus olivi.

Note return to page 288 [7] 7 Shame not these woods.] But how did Timon any more shame the woods by assuming the character of a Cynic, than Apemantus did! The Poet certainly meant to make Apemantus say, Don't disgrace this garb, which thou hast only affected to assume; and to seem the creature thou art not by nature, but by the force and compulsion of poverty. We must therefore restore, &lblank; Shame not these weeds. Apemantus, in several other passages of the scene, reproaches him with his change of garb.

Note return to page 289 [8] 8 &lblank; the cunning of a carper.] For the Philosophy of a Cynic, of which sect Apemantus was: and therefore he concludes, &lblank; Do not assume my likeness.

Note return to page 290 [a] [(a) moss'd trees. Oxford Editor.—Vulg. moist trees]

Note return to page 291 [a] [(a) What a knave thou! Oxford Editor.—Vulg. What? a knave too?]

Note return to page 292 [9] 9 &lblank; but bred a dog.] Alluding to the word Cynic, of which sect Apemantus was.

Note return to page 293 [1] 1 If thou hadst not been born the worst of men,] Worst, for lowest.

Note return to page 294 [2] 2 for too much curiosity;] i. e. for too much finical delicacy. The Oxford Editor alters it to courtesy. But Apemantus is not speaking of Timon's wealth in general, but of that which he applied to his own use in gilt and perfume: so that his courtesy had nothing to do with this, but his curiosity which occasioned it. Common sense shews us the pertinence of the common reading, and the impertinence of the alteration.

Note return to page 295 [3] 3 Thou art the cap &c.] i. e. the property, the bubble.

Note return to page 296 [4] 4 Whose blush doth thaw the consecrated snow, That lies on Dian's lap! &lblank;] The imagery is here exquisitely beautiful and sublime: and that still heightened by allusion to a fable and custom of antiquity; viz. the story of Danae, and the golden shower; and the use of consecrating to a god or goddess, that which, from a similarity of nature, they were supposed to hold in esteem.

Note return to page 297 [a] [(a) meet. Mr. Theobald—Vulg. meat.]

Note return to page 298 [5] 5 In limited professions. &lblank;] Limited, for legal.

Note return to page 299 [a] [(a) Takes wealth and life together. Oxford Editor—Vulg. Take wealth and live together.]

Note return to page 300 [6] 6 The Sea's a thief, whose liquid surge resolves. The Moon into salt tears. &lblank;] The Sea melting the Moon into tears, is, I believe, a secret in philosophy, which no body but Shakespear's deep Editors ever dream'd of. There is another opinion, which 'tis more reasonable to believe that our Author may allude to; viz. that the saltness of the Sea is caused by several ranges, or Mounds of rock-salt under water, with which resolving liquid the Sea was impregnated. This I think a sufficient authority for changing Moon into Mounds.

Note return to page 301 [4] 4 'Tis in the malice of mankind, that he thus advises us, not to have us thrive in our mystery.] i. e. 'Tis the common malice of mankind that makes One give such advice to Another, as may prove to his detriment. One would think this easy enough. But the Oxford Editor reads, 'Tis in his malice to mankind, that he thus advises us, not to have us thrive in our mystery. Which is making compleat nonsense of the whole reflexion: For if Timon gave this advice, out of his malice to his species, he was in earnest, and so far from having any design that they should not thrive in their mystery, that his utmost with was that they might.

Note return to page 302 [5] 5 Let us first see peace in Athens, &c.] This and the concluding little speech have in all the editions been placed to one speaker: But, 'tis evident, the latter words ought to be put in the mouth of the second thief, who is repenting, and leaving off his trade.

Note return to page 303 [1] 1 What change of honour desp'rate want has made?] We should read, What change of humour &lblank;

Note return to page 304 [2] 2 How rarely does it meet &lblank;] Rarely, for fit; not for seldom.

Note return to page 305 [3] 3 When man was wisht &lblank;] We should read will'd. He forgets his pagan system here again.

Note return to page 306 [4] 4 Grant, I may ever love, and rather woo Those that would mischief me, than those that do!] But why so? Was there ever such an ass, I mean, as the transcriber? Shakespear wrote it, Grant, I may ever love, and rather too Those that would mischief me, than those that woo! The Steward, affected with his master's misfortunes and meditating on the cause of it, says, What an excellent precept is that of loving our enemies; grant that I may love them to chuse, rather than flatterers. All here is sensible, and to the purpose, and makes the whole coherent. But when once the transcribers had blundered too to woo in the first line, they were obliged, in their own defence, in the second line, to alter woo to do.

Note return to page 307 [5] 5 It almost turns my dangerous nature wild.] i. e. It almost turns my dangerous nature to a dangerous nature; for, by dangerous nature, is meant wildness. Shakespear wrote, It almost turns my dangerous nature mild. i. e. It almost reconciles me again to mankind. For fear of that, he puts in a caution immediately after, that he makes an exception but for one man. To which the Oxford Editor says, rectè.

Note return to page 308 [6] 6 it must be a personating of himself;] Personating, for representing simply. For the subject of this projected satire was Timon's case, not his person.

Note return to page 309 [7] 7 follow youth and opulency.] i. e. The flatteries of lovers and legacy hunters.

Note return to page 310 [8] 8 While the day serves, before black-corner'd night,] We should read, &lblank; black-cornette night. A cornette is a woman's head-dress for the night. So in another place he calls her, black-brow'd night.

Note return to page 311 [9] 9 Let it go naked, men may see't the better:] The humour of this reply is incomparable. It insinuates not only the highest contempt of the flatterer in particular, but this useful lesson in general, that the images of things are clearest seen through a simplicity of phrase; of which in the words of the precept, and in those which occasion'd it, he has given us examples.

Note return to page 312 [1] 1 &lblank; But two in company &lblank;] This is an imperfect sentence, and is to be supplied thus, But two in company spoils all.

Note return to page 313 [2] 2 Of its own Fall, &lblank;] The Oxford Editor alters Fall to Fault, not knowing that Shakespear uses Fall to signify dishonour, not destruction. So in Hamlet, What a falling off was there!

Note return to page 314 [3] 3 Allow'd with absolute power, &lblank;] This is neither English nor sense. We should read, Hallow'd with absolute power, &lblank; i. e. Thy person shall be held sacred. For absolute power being an attribute of the Gods, the ancients thought that he who had it in society, was become sacred, and his person inviolable: On which account, the Romans called the Tribunitial-power of the Emperors, Sacrosancta potestas.

Note return to page 315 [4] 4 To the protection of the prosp'rous Gods,] Prosp'rous, for happy. The classical epithet of the Gods.

Note return to page 316 [5] 5 In our dear peril.] So the Folios, and rightly. The Oxford Editor alters dear to dread, not knowing that dear, in the language of that time, signified dread, and is so used by Shakespear in numberless places.

Note return to page 317 [6] 6 Some beast read this; here does not live a man.] Some beast read what? The soldier had yet only seen the rude pile of earth heap'd up for Timon's grave, and not the Inscription upon it. We should read, Some beast rear'd this; &lblank; The soldier seeking, by order, for Timon, sees such an irregular mole, as he concludes must have been the workmanship of some beast inhabiting the woods; and such a cavity, as either must have been so over-arch'd, or happen'd by the casual falling in of the ground.

Note return to page 318 [7] 7 When crouching marrow in the bearer strong Cries, of itself, no more:] The marrow was supposed to be the original of strength. The image is from a camel kneeling to take up his load, who rises immediately when he finds he has as much laid on as he can bear.

Note return to page 319 [8] 8 Above their quantity.] Their refers to rages.

Note return to page 320 [a] [(a) 'mends. Mr. Theobald.—Vulg. means.]

Note return to page 321 [a] [(a) brine's flow. Oxford Editor—Vulg. brains' flow.]

Note return to page 322 [1] 1 Hail, Rome, victorious in thy mourning Weeds!] I suspect that the poet wrote, &lblank; in my mourning Weeds. i. e. Titus would say; Thou, Rome, art victorious, tho' I am a mourner for those Sons which I have lost in obtaining that victory.

Note return to page 323 [2] 2 and fame's eternal date for virtue's praise.] This absur'd wish is made sense of by changing and into in.

Note return to page 324 [1] 1 Upon her wit &lblank;] We should read, Upon her will. &lblank;

Note return to page 325 [2] 2 Not I, till I have sheath'd &c.] This speech, which has been all along given to Demetrius, as the next to Chiron, were both given to the wrong speaker. For it was Demetrius that had thrown out the reproachful speeches on the other.

Note return to page 326 [3] 3 To square for this? &lblank;] Square signifies to quarrel. Vide Midsummer Night's dream. Mr. Pope.

Note return to page 327 [4] 4 &lblank; The morn is bright and gray;] i. e. bright and yet not red which was a sign of storms and rain, but gray which foretold fair weather. Yet the Oxford Editor alters gray to gay.

Note return to page 328 [5] 5 And never after to inherit it.] Inherit, for possess simply.

Note return to page 329 [6] 6 And with that painted Hope she braves your mightiness;] Lavinia stands upon her chastity, and nuptial vow; and upon the merit of these braves the Queen. But why are these called a painted hope? we should read, And with this painted Cope &lblank; i. e. with this gay covering. It is well expressed. Her reasons were of a religious nature; and are therefore called a painted cope which is a splendid ecclesiastic vestment: It might be called painted, likewise, as insinuating that her virtue was only pretended.

Note return to page 330 [a] [(a) two antient urns. Oxford Editor.—Vulg. two antient ruins.]

Note return to page 331 [1] 1 &lblank; in thy father's sight?] We should read, spight.

Note return to page 332 [2] 2 Writing Destruction on the enemies' Castle?] Thus all the editions. But Mr. Theobald, after ridiculing the sagacity of the former Editors at the expence of a great deal of aukward mirth, corrects it to Casque; and this, he says, he'll stand by: And the Oxford Editor, taking his security, will stand by it too. But what a slippery ground is critical confidence! Nothing could bid fairer for a right conjecture; yet 'tis all imaginary. A close Helmet which covered the whole head, was called a Castle, and, I suppose, for that very reason. Don Quixote's barber, at least as good a critick as these Editors, says, (in Shelton's translation of 1612,) I know what is a helmet, and what a morrion, and what a close Castle, and other things touching warfare. lib. 4. cap. 18. And the original, celada de encaxe, has something of the same signification. Shakespear uses the word again in Troilus and Cressida; &lblank; and Diomede Stand fast, and wear a Castle on thy head.

Note return to page 333 [3] 3 And do not break into these two extremes.] We should read, instead of this nonsense, &lblank; woe-extremes. i. e. extremes caused by excessive sorrow. But Mr. Theobald, on his own authority, alters it to deep, without notice given.

Note return to page 334 [4] 4 &lblank; some deal,] i. e. in some measure.

Note return to page 335 [5] 5 &lblank; with this dear sight] The Oxford Editor reads dire sight. He did not know that dear bore at that time the signification of dire.

Note return to page 336 [6] 6 Scene VI] This scene is not in the old edition. Mr. Pope.

Note return to page 337 [1] 1 Revenge the Heav'ns &lblank;] We should read, Revenge thee, Heav'ns! &lblank;

Note return to page 338 [a] [(a)&lblank; fond. Mr. Theobald—Vulg. sound.]

Note return to page 339 for lord read lords.

Note return to page 340 [2] 2 &lblank; shall shape privilege.] i. e. make or establish privilege.

Note return to page 341 [1] 1 &lblank; hath done you any scathe,] Scathe, harm. Mr. Pope.

Note return to page 342 [a] [(a) Damn'd. Mr. Theobald—Vulg. And.]

Note return to page 343 [1] 1 When the Battle's lost and won.] i. e. the battle, in which Macbeth was then engaged. These wayward sisters, as we may see in a note on the third scene of this act, were much concerned in battles. Hæ nominantur Valkyriæ; quas quodvis ad prælium Odinus mittit.

Note return to page 344 [2] 2 Fair is foul, and foul is fair,] i. e. We make these sudden changes of the Weather. And Macbeth speaking of this day, soon after says, So foul and fair a day I have not seen.

Note return to page 345 for to read two.

Note return to page 346 [3] 3 &lblank; from the western isles Of Kernes and Gallow-glasses was supply'd;] Whether supplied of, for supplied from or with, was a kind of Grecism of Shakespear's expression; or whether of be a corruption of the editor's, who took Kernes and Gallow-glasses, which were only light and heavy armed Foot, to be the names of two of the western islands, I don't know. Hinc conjecturæ vigorem etiam adjiciunt arma quædam Hibernica, Gallicis antiquis similia, jacula nimirùm peditum levis armaturæ quos Kernos vocant, nec non secures & loricæ ferreæ peditum illorum gravioris armaturæ, quos Galloglassios appellant. Waræi Antiq. Hiber. cap. 6.

Note return to page 347 [4] 4 &lblank; on his damned quarry &lblank;] We should read quarrel.

Note return to page 348 [5] 5 &lblank; he unseam'd him from the nave to th' chops,] We seldom hear of such terrible cross blows given and received but by giants and miscreants in Amadis de Gaule. Besides it must be a strange aukward stroke that could unrip him upwards from the navel to the chops. But Shakespear certainly wrote, he unseamed him from the nape to th' chops, i. e. cut his skull in two; which might be done by a Highlander's sword. This was a reasonable blow, and very naturally expressed, on supposing it given when the head of the wearied combatant was reclining downwards at the latter end of a long duel. For the nape is the hinder part of the neck, where the vertebræ join to the bone of the skull. So in Coriolanus, O! that you could turn your eyes towards the napes of your necks. The word unseamed, likewise, becomes very proper; and alludes to the future which goes cross the crown of the head in that direction called the sutura sagittalis; and which, consequently, must be opened by such a stroke. It is remarkable, that Milton, who in his youth read and imitated our poet much, particularly in his Comus, was misled by this corrupt reading. For in the manuscript of that poem, in Trinity-College Library, the following lines are read thus, Or drag him by the curles, and cleave his scalpe Down to the hippes. &lblank; An evident imitation of this corrupted passage. But he alter'd it with better judgment, to &lblank; to a foul death Curs'd as his life.

Note return to page 349 [6] 6 As whence the sun 'gins his reflection,] Here are two readings in the copies, gives, and 'gins, i. e. begins. But the latter I think is the right, as founded on observation, that storm generally come from the east. As from the place (says he) whence the sun begins his course, (viz. the east) shipwrecking storms proceed so, &c. For the natural and constant motion of the ocean is from east to west; and the wind has the same general direction. Præcipua & generalis [ventorum] causa est ipse Sol qui aërem rarefacit & attenuat. Aër enim rarefactus multo majorem locum postulat. Inde fit ut Aër à sole impulsus alium vicinum aërem magno impetu protrudat; cumque Sol ab Oriente in occidentem circumrotetur, præcipuus ab eo aëris impulsus fiet versus occidentem. Varenii Geogr. l. 1. c. 14. prop. 10. See also Doctor Halley's Account of the Trade-Winds of the [Subnote: for Winds of the read Winds and.] Monsoons. This being so, it is no wonder that storms should come most frequently from that quarter; or that they should be most violent, because there is a concurrence of the natural motions of wind and wave. This proves the true reading is 'gins; the other reading not fixing it to that quarter. For the Sun may give its reflection in any part of its course above the horizon; but it can begin it only in one. The Oxford Editor, however, sticks to the other reading, gives: and says, that, by the Sun's giving his reflection, is meant the rainbow, the strongest and most remarkable reflection of any the Sun gives. He appears by this to have as good a hand at reforming our physics as our poetry. This is a discovery; that shipwrecking storms proceed from the rainbow. But he was misled by his want of skill in Shakespear's phraseology, who, by the sun's reflection, means only the Sun's light. But while he is intent on making his author speak correctly, he slips himself. The rainbow is no more a reflection of the Sun than a tune is a fiddle. And, tho' it be the most remarkable effect of reflected light, yet it is not the strongest.

Note return to page 350 [7] 7 Discomfort well'd.] Shakespear without question wrote Discomfit, i. e. rout, overthrow, from the Latin, disconfictus. i. e. disruptus, dissolutus. And that was the case, at the first onset, 'till Macbeth turned the fortune of the day.

Note return to page 351 [a] (a)&lblank; well'd. Dr. Thirlby—Vulg. swell'd.

Note return to page 352 [8] 8 As cannons overcharg'd with double cracks,] Double is here used for great, and not for two. He uses double in this sense in other places as in Love's Labour Lost. I understand you not, my griefs are double. See note on the word in Othello, Act 1. Scene 4.

Note return to page 353 [9] 9 Or memorize another Golgotha.] Memorize, for make.

Note return to page 354 [1] 1 So should he look that seems to speak things strange.] i. e. that seems as if he would speak.

Note return to page 355 [2] 2 &lblank; flout the sky.] To flout is to dash any thing in another's face.

Note return to page 356 [3] 3 Confronted him with self-comparisons,] The disloyal Cawdor, says Mr. Theobald. Then comes another, and says, a strange forgetfulness in Shakespear, when Macbeth had taken this Thane of Cawdor prisoner, not to know that he was fallen into the King's displeasure for rebellion. But this is only blunder upon blunder. The truth is, by him, in this verse, is meant Norway: as the plain construction of the English requires. And the assistance the Thane of Cawdor had given Norway was underhand; which Ross and Angus, indeed, had discovered; but was unknown to Macbeth. Cawdor being, in the court all this while, as appears from Angus's speech to Macbeth, when he meets him to salute him with the title, and insinuates his crime to be lining the rebel with hidden help and vantage.

Note return to page 357 [4] 4 &lblank; with self-comparisons,] i. e. gave him as good as he brought, shew'd he was his equal.

Note return to page 358 [5] 5 &lblank; to our general use.] General, for public.

Note return to page 359 [6] 6 Our bosom-int'rest. &lblank;] Bosom-int'rest, for trust. So speaking of him again afterwards, he says, He was a gentleman on whom I built An absolute trust.

Note return to page 360 [7] 7 Aroint thee, &lblank;] Aroint, or avaunt, be gone. Mr. Pope.

Note return to page 361 [8] 8 The weyward sisters hand in hand,] Mr. Theobald had found out who these weyward sisters were; but observed they were called, in his authentic Holingshed, Weïrd sisters; and so would needs have weyward a corruption of the text, because it signifies perverse, froward, &c. and it is improbable (he says) that the witches should adopt this epithet to themselves. It was hard that when he knew so much, he should not know a little more; that weyward had anciently the very same sense, as weïrd; and was, indeed, the very same word differently spelt; having acquired its later signification from the quality and temper of these imaginary witches. But this is being a critic like him who had discovered that there were two Hercules's; and yet did not know that he had two next-door neighbours of one and the same name. As to these weyward sisters, they were the Fates of the northern nations; the three hand-maids of Odin. Hæ nominantur Valkyriæ, quas quodvis ad Prælium Odinus mittit. Hæ viros morti destinant, & victoriam gubernant. Gunna, & Rota, & Parcarum minima Skullda: per aëra & maria equitant semper ad morituros eligendos; & cædes in potestate habent. Bartholinus de Causis contemptæ à Danis adhuc Gentilibus mortis. It is for this reason that Shakespear makes them three; and calls them, Posters of the sea and land; And intent only upon death and mischief. However, to give this part of his work the more dignity, he intermixes, with this [Subnote: for this read there.] northern, the Greek and Roman superstitions; and puts Hecate at the head of their enchantments. And to make it still more familiar to the common audience (which was always his point) he adds, for another ingredient, a sufficient quantity of our own country superstitions concerning witches; their beards, their cats, and their broomsticks. So that his Witch-scenes are like the charm they prepare in one of them; where the ingredients are gathered from every thing shocking in the natural world; as here, from every thing absurd in the moral. But as extravagant as all this is, the play has had the power to charm and betwitch every audience from that time to this.

Note return to page 362 [9] 9 Are ye fantastical, &lblank;] By fantastical is not meant, (according to the common signification) creatures of his own brain: For he could not be so extravagant to ask such [Subnote: for ask such read ask them such.] a question: but it is used for supernatural, spiritual.

Note return to page 363 [1] 1 By Sinel's death, &lblank;] The father of Macbeth. Mr. Pope.

Note return to page 364 [2] 2 &lblank; eaten of the insane root,] Mr. Theobald has a long and learned note on these words; and, after much puzzling, he at length proves, from Hector Boethius, that this root was a berry.

Note return to page 365 [3] 3 Thy personal 'venture &lblank;] i. e. adventure.

Note return to page 366 [4] 4 Might yet enkindle you &lblank;] Enkindle, for to stimulate you to seek.

Note return to page 367 [5] 5 This supernatural Solliciting] Solliciting, for information.

Note return to page 368 [6] 6 &lblank; Why do I yield &lblank;] Yield, not for consent, but for to be subdued by.

Note return to page 369 [7] 7 Whose horrid image doth unfix my hair,] But horror does not unfix the hair, but makes it stand stiff and upright. We should read therefore, upfix.

Note return to page 370 [8] 8 &lblank; present fears Are less than horrible Imaginings.] Macbeth, while he is projecting the murder, which he afterwards puts in execution, is thrown into the most agonizing affright at the prospect of it: which soon recovering from, thus he reasons on the nature of his disorder. But Imaginings are so far from being more or less than present Fears, that they are the same things under different words. Shakespear certainly wrote; &lblank; present feats Are less than horrible imaginings. i. e. when I come to execute this murder, I shall find it much less dreadful than my frighted imagination now presents it to me. A consideration drawn from the nature of the imagination.

Note return to page 371 [9] 9 Is smother'd in surmise;] Surmise, for contemplation.

Note return to page 372 [1] 1 &lblank; and nothing is, But what is not.] i. e. I can give no attention to any thing but to the future prospect of the crown.

Note return to page 373 [2] 2 Time and the hour &lblank;] Time is painted with an hour-glass in his hand. This occasioned the expression.

Note return to page 374 [3] 3 To find the mind's construction &lblank;] The metaphor is taken from the construction of a scheme in any of the arts of prediction.

Note return to page 375 *&lblank; by doing every thing Safe tow'rd your love and honour.] This nonsense, made worse by ill pointing, should be read thus, &lblank; by doing every thing. Fief'd tow'rd your life and honour. i. e. their duties being fief'd, or engaged to the support of, as feudal Tenants to their Lord. And it was an artful preparation to aggravate the following murder to make the speaker here confess, that he was engaged the protector of the King's life, as bound by his tenure to preserve it.

Note return to page 376 [4] 4 Let not light see my black and deep desires;] As the Poets make the stars the lamps of Night, and their fires for her use, and not their own, I take it for granted that Shakespear wrote, Let not night see, &c. which mends both the expression and sense. For light cannot well be made a person; but night may: and the verb see relates to personality. The sense is finer, as it implies, in this reading, an unwillingness to trust even Night with his design, tho' she be the common Baud (as our author some-where calls her) to such kind of secrets. Noctem peccatis, & fraudibus objice nubem.

Note return to page 377 [5] 5 I have learn'd by the perfectest report,] We do not find who it was that could give him so full assurance that these women had in them more than mortal knowledge. A very slight change will set all right. I am persuaded we should read. the perfected report, report for prediction. i. e. the prediction fulfilled. For he had mentioned before, in the letter, what this report was, as appears from the words, When I burnt in desire to question them further.

Note return to page 378 [6] 6 Which fate, and metaphysical [Subnote: for metaphysical read metaphysic.] aid, doth seem To have thee crown'd withal] Metaphysical [Subnote: for metaphysical read metaphysic.] for supernatural. But doth seem to have thee crown'd withal, is not sense. To make it so, it should be supplied thus, doth seem desirous to have. But no poetic licence would excuse this. An easy alteration will restore the poet's true reading, &lblank; doth seem To have crown'd thee withal. i. e. they seem already to have crown'd thee, and yet thy disposition at present hinders it from taking effect.

Note return to page 379 for metaphysical read metaphysic.

Note return to page 380 [7] 7 &lblank; The raven himself is hoarse, &c.] What sense can be made out of this I do not find. Had the expression been, The raven is hoarse with croaking, it might have signified her confidence that Duncan's entrance would be fatal; and her impatience to put the decrees of fate in execution; sentiments agreeable enough to her situation and temper. But had Shakespear meant this, he would have expressed his meaning properly, as he knew so well how to do it. I suppose, therefore, the text to be corrupt, and that we should read, The raven himself's not hoarse. The messenger tells her of one who has just brought the agreeable news of Duncan's coming. Give him tending (says she) he brings great news, i. e. treat him as the bringer of good news deserves. This is so very acceptable, that it would render the most shocking voice harmonious, the most frightful bearer agreeable. A thought expressed in the most sublime imagery conceivable; and best adapted to the confidence of her views. For as the raven was thought a bird of omen, it was the properest to instance in, both as that imagination made its hoarse voice still naturally more odious, and as that was a notice of the designs of fate which she could confide in. But this effect of the dispositions of the mind upon the organs of sense our poet delighted to describe. Thus, in a contrary case, where the chaunting of the lark in Romeo and Juliet brings ill news, he makes the person concerned in it say, 'Tis said the lark and loathed toad chang'd eyes: Oh now I wot they have chang'd voices too.

Note return to page 381 [8] 8 &lblank; mortal thoughts, &lblank;] i. e. deadly.

Note return to page 382 [9] 9 &lblank; nor keep peace between] Keep peace, for go between simply. The allusion to officers of justice who keep peace between rioters by going between them.

Note return to page 383 [1] 1 You wait on nature's mischief. &lblank;] Nature, for human.

Note return to page 384 [2] 2 And pall thee &lblank;] i. e. wrap thyself in a pall.

Note return to page 385 [3] 3 This ign'rant present time, &lblank;] Ignorant, for base, poor, ignoble.

Note return to page 386 [4] 4 May read strange matters. &lblank;] Strange, for dangerous.

Note return to page 387 [5] 5 This castle hath a pleasant seat; &lblank;] Seat is the same word as Site.

Note return to page 388 [6] 6 Unto our gentle senses.] How odd a character is this of the air that it could recommend itself to all the senses, not excepting the sight and hearing? Without doubt, we should read, Unto our general sense, meaning the touch or feeling: which not being confined to one part, like the rest of the senses, but extended over the whole body, the poet, by a fine periphrasis, calls the general sense. Therefore by the air's recommending itself nimbly and sweetly, must be understood that it was clear and soft, which properties recreated the fibres, and assisted their vibration. And surely it was a good circumstance in the air of Scotland that it was soft and warm: and this circumstance he would recommend, as appears from the following words, This guest of Summer, The temple-haunting martlet &lblank; General has been corrupted to gentle once again in this very play. See Note, Act 3. Scene 5.

Note return to page 389 [7] 7 How you should bid god-yeld us &lblank;] To bid any one god yeld him, i. e. god-yield him, was the same as God reward him.

Note return to page 390 [8] 8 We rest your Hermits.] Hermits, for Beadsmen.

Note return to page 391 [9] 9 Might be the Bee all &c. &lblank; To plague th' inventor &c.] The first of these lines (which in the old edition is totally different from all the others) and the latter (which is quite omitted in all the others) entirely restore this very obscure passage to sense, as will appear upon comparison. Mr. Pope.

Note return to page 392 [1] 1 But here, upon this Bank and school of time,] We should read, &lblank; shelve of time.

Note return to page 393 [2] 2 Hath borne his faculties so meek, &lblank;] Faculties, for office, exercise of power, &c.

Note return to page 394 [3] 3 &lblank; or heav'n's cherubin hors'd Upon the sightless couriers of the air,] But the cherubin is the courier; so that he can't be said to be hors'd upon another courier. We must read, therefore, coursers.

Note return to page 395 [4] 4 Like the poor cat i' th' Adage.] The adage alluded to is, The cat would catch fish, but she dare not wet her feet.

Note return to page 396 [5] 5 Did then cohere, &lblank;] Cohere, for suit, fit.

Note return to page 397 [6] 6 &lblank; with wine and wassel so convince,] Convince, for intoxicate. Because overcome has the sense both of to convince and intoxicate, he uses convince to signify intoxicate.

Note return to page 398 [1] 1 If you shall cleave to my consent, when 'tis,] Consent, for will. So that the sense of the line is. If you shall go into my measures when I have determined of them, or when the time comes that I want your assistance.

Note return to page 399 [2] 2 And on thy blade and dudgeon, gouts of blood,] Certainly, if on the blade, then on the dudgeon; for dudgeon signifies a small dagger. We should read therefore, And on the blade of th' dudgeon, &lblank;

Note return to page 400 [3] 3 &lblank; gouts of blood,] Or drops, French. Mr. Pope.

Note return to page 401 [4] 4 With Tarquin's ravishing strides,] The justness of this similitude is not very obvious. But a stanza, in his poem of Tarquin and Lucrece, will explain it. Now stole upon the time, the dead of night; When heavy sleep had clos'd up mortal eye; No comfortable star did lend his light, No noise but owls and wolves dead-boding cries; Now serves the season that they may surprise The silly lambs. Pure thoughts are dead and still, Whilst lust and murder wake to stain and kill.

Note return to page 402 [5] 5 &lblank; prate of my where-about;] i. e. Tell where I am. The Oxford Editor alters it to, &lblank; prate of that we're about; i. e. Tell what we are upon. But tho' a noise on the pavement might do the first, I think it could scarce do the latter.

Note return to page 403 [6] 6 And take the present horrour from the time, Which now suits with it. &lblank;] i. e. Lest the noise from the stones take away from this midnight season that present horror which suits so well with what is going to be acted in it. What was the horror he means? Silence, than which nothing can be more horrid to the perpetrator of an atrocious design. This shews a great knowledge of human nature.

Note return to page 404 [7] 7 &lblank; Had he not resembled My father as he slept, I had don't &lblank;] This is very artful. For, as the Poet has drawn the lady and husband, it would be thought the act should have been done by her. It is likewise highly just; for tho' ambition had subdued in her all the sentiments of nature towards present objects, yet the likeness of one past, which she had been accustomed to regard with reverence, made her unnatural passions, for a moment, give way to the sentiments of instinct and humanity.

Note return to page 405 [8] 8 The death of each day's life, sore labour's hath, &c.] In this encomium upon sleep, amongst the many appellations which are given it, significant of its benificence and friendliness to life, we find one which conveys a different idea, and by no means agrees with the rest; which is, The Death of each day's life, &lblank; I make no question but Shakespear wrote, The birth of each day's life, &lblank; The true characteristic of sleep, which repairs the decays of labour, and assists that returning vigour which supplies the next day's activity. The Player-Editors seem to have corrupted it for the sake of a silly gingle between life and death.

Note return to page 406 [9] 9 To know my deed, 'twere best not know myself] i. e. While I have the thoughts of this deed it were best not know, or be lost to, myself. This is an answer to the lady's reproof; &lblank; be not lost So poorly in your thoughts. But the Oxford Editor, perceiving neither the sense, nor the pertinency of the answer, alters it to, To unknow my deed, 'twere best not know myself.

Note return to page 407 [1] 1 here's an equivocator, &lblank; who committed treason enough for God's sake,] Meaning a Jesuit; an order so troublesom to the State in Queen Elizabeth and King James the First's times. The inventors of the execrable doctrine of equivocation.

Note return to page 408 [2] 2 here's an English taylor come hither for stealing out of a French hose:] The archness of the joke consists in this, that a French hose being very short and strait, a taylor must be master of his trade who could steal any thing from thence.

Note return to page 409 [3] 3 &lblank; for 'tis my limited service.] Limited, for appointed.

Note return to page 410 [4] 4 And prophesying with accents terrible Of dire combustion, and confus'd events, New hatch'd to th' woeful time:] Here are groans and screams of death heard in the air. Thus far a strong imagination, arm'd with superstition, might go. But accents terrible of dire combustion, that is, prophesying of them, in articulate sounds or words, is a little too far. However, admit this, we are further told, that these prophesies are new hatch'd to th' woeful time; that is, accommodated to the present conjuncture. And this must needs have another author than the air inflamed with meteors. To be short, the case was this; These signs and noises in a troubled heaven set the old women upon earth a prophesying, and explaining those imaginary omens, which brought back to their frighten'd imaginations those predictions in the mouths of the people, foretelling what would happen when such signs appear'd. This he finely calls, New hatching them to the woeful time. Intimating that they had been often hatched, or adapted, before to the misfortunes of former times. Shakespear was well acquainted with the nature of popular superstition, and has described it so precisely to the point, in a beautiful stanza of his Venus and Adonis, that that will be the best comment on this passage. Look how the world's poor people are amaz'd At apparitions, signs and prodigies, Whereon with fearful eyes they long have gaz'd, Infusing them with dreadful prophesies. Here he plainly tells us that signs in the heavens gave birth to prophesies on the earth; and tells us how too: It was by infusing fancies into the crazy imaginations of the people. His language likewise is the same; he uses prophesies, as in the passage in question, to signify forebodings. As this was the effect of superstition only, we may reckon to meet with it in antiquity; of which the English reader may take the following account from Milton. History of England, Lib. 2. Of these ensuing troubles many foregoing signs appear'd, certain women in a kind of extasy foretold of calamities to come: In the council-house were heard by night barbarous noises; in the theatre, hideous howling; in the creek, horrid sights, &c. By this time I make no doubt but the reader is beforehand with me in conjecturing that Shakespear wrote, Aunts prophesying, &c. i. e. Matrons, old women. So in Midsummer-Night's Dream he says, The wisest aunt telling the saddest tale. Where, we see, he makes them still employed on dismal subjects, fitted to disorder the imagination.

Note return to page 411 [5] 5 What, in our house? &lblank;] This is very fine. Had she been innocent, nothing but the murder itself, and not any of its aggravating circumstances, would naturally have affected her. As it was, her business was to appear highly disorder'd at the news. Therefore, like one who has her thoughts about her, she seeks for an aggravating circumstance, that might be supposed most to affect her personally; not considering, that by placing it there, she discovered rather a concern for herself than for the King. On the contrary, her husband who had repented the act, and was now labouring under the horrors of a recent murder, in his exclamation, gives all the marks of sorrow for the fact itself.

Note return to page 412 [6] 6 There's nothing serious in mortality;] Serious, for valuable.

Note return to page 413 [7] 7 Loyal and neutral in a moment? &lblank;] Neutral, for unconcerned, indifferent.

Note return to page 414 [8] 8 His silver skin laced with his golden blood,] The allusion is so ridiculous on such an occasion, that it discovers the declaimer not to be affected in the manner he would represent himself. The whole speech is an unnatural mixture of far-fetch'd and commonplace thoughts, that shews him to be acting a part.

Note return to page 415 [9] 9 Unmannerly breech'd with gore: &lblank;] This nonsensical account of the state in which the daggers were found, must surely be read thus, Unmanly reech'd with gore: &lblank; Reech'd, soiled with a dark yellow, which is the colour of any reechy substance, and must be so of steel stain'd with blood. He uses the word very often, as reechy hangings, reechy neck, &c. So that the sense is, that they were unmanly stain'd with blood, and that circumstance added, because often such stains are most honourable.

Note return to page 416 [1] 1 In the great hand of God I stand, and thence, Against the undivulg'd pretence I fight Of treas'nous malice.] Pretence, for act. The sense of the whole is, My innocence places me under the protection of God, and under that shadow, or, from thence, I declare myself an enemy to this, as yet hidden, deed of mischief. This was a very natural speech for him who must needs suspect the true author.

Note return to page 417 [1] 2 Threaten this bloody stage: &lblank;] One might be tempted to think the poet wrote strage, slaughter. But I, who know him better, am persuaded he used stage for act. And because stage may be figuratively used for act, a dramatic representation; therefore he uses it for act, a deed done. Threatens a tragedy.

Note return to page 418 [3] 3 &lblank; in her pride of place,] Finely expressed, for confidence in its quality.

Note return to page 419 [1] 1 (As upon thee, Macbeth, their speeches shine)] Shine, for prosper.

Note return to page 420 [2] 2 For Banquo's issue have I fil'd my mind:] We should read, &lblank; 'filed my mind: i. e. defiled.

Note return to page 421 [3] 3 Rather than so, come Fate into the list, And champion me to th' utterance! &lblank;] This is expressed with great nobleness and sublimity. The metaphor is taken from the ancient combat en champ clos: in which there was a marshal, who presided over, and directed all the punctilios of the ceremonial. Fate is called upon to discharge this Office, and champion him to th' utterance; that is, to fight it out to the extremity, which they called combatre à oultrance. But he uses the Scotch word, utterance from oultrance, extremity.

Note return to page 422 [4] 4 &lblank; and to a notion craz'd.] Notion, for the understanding.

Note return to page 423 [5] 5 &lblank; that I am reckless what] i. e. careless. Mr. Pope.

Note return to page 424 [6] 6 So weary with disasters, tugg'd with fortune,] We see the speaker means to say that he is weary with struggling with adverse fortune. But this reading expresses but half the idea; viz. of a man tugg'd and haled by fortune without making resistance. To give the compleat thought, we should read, So weary with disastrous tuggs with fortune. This is well expressed, and gives the reason of his being weary, because fortune always hitherto got the better. And that Shakespear knew how to express this thought, we have an instance in The Winter's Tale, Let myself and Fortune tugg for the time to come. Besides, to be tugg'd with Fortune, is scarce English.

Note return to page 425 [7] 7 &lblank; in such bloody distance,] Distance, for enmity.

Note return to page 426 [8] 8 &lblank; the perfect spy o' th' time,] i. e. the critical juncture.

Note return to page 427 [a] (a) &lblank; scotch'd. Mr. Theobald.—Vulg. scorch'd.

Note return to page 428 *In restless ecstasie &lblank;] Ecstasie, for madness.

Note return to page 429 †Malice domestic &lblank;] Malice, for conspiracy.

Note return to page 430 [9] 9 Present him Eminence, &lblank;] i. e. do him the highest honours.

Note return to page 431 [1] 1 &lblank; Nature's copy's not eternal.] Eternal, for immortal.

Note return to page 432 [2] 2 The shard-born beetle &lblank;] i. e. The beetle hatched in clefts of wood. So in Anthony and Cleopatra: They are his shards, and he their Beetle.

Note return to page 433 [3] 3 &lblank; come, sealing Night,] Thus the common editions had it; but the old one, seeling, i. e. blinding; which is right. It is a term in Falconry.

Note return to page 434 [4] 4 &lblank; light thickens, &lblank;] Either the poet or his editors were out in their philosophy: for the more light thickens or condenses, the brighter it is. I should think the poet wrote, &lblank; night thickens. Tho' by thickens, in his licentious English, he might mean, grows muddy; and take his idea from a clear transparent liquor's turning thick by the infusion of an inky substance into it.

Note return to page 435 [6] 6 &lblank; Oh, these flaws and starts (Impostors to true fear,)] i. e. these flaws and starts, as they are indications of your needless fears, are the imitators or impostors only of those which arise from a fear well grounded.

Note return to page 436 [7] 7 Ere human Statute purg'd the gentle weal;] Thus all the editions: I have reform'd the text, gen'ral weal: And it is a very fine Periphrasis to signify, ere civil Societies were instituted. For the early murders recorded in Scripture, are here alluded to: and Macbeth's apologizing for murder from the antiquity of the example is very natural. The term he uses again in Timon, &lblank; that his particular to forefend Smells from the gen'ral-weal.

Note return to page 437 [8] 8 And all to all.] i. e. all good wishes to all; such as he had named above love, health and joy.

Note return to page 438 [9] 9 If trembling I inhibit,] Inhibit, for refuse.

Note return to page 439 [1] 1 Macb. &lblank; Can such things be, And overcome us like a summer's cloud, Without our special wonder?] Why not? if they be only like a summer's cloud? The speech is given wrong; it is part of the Lady's foregoing speech; and, besides that, is a little corrupt. We should read it thus, &lblank; Can't such things be, And overcome us like a summer's cloud, Without our special wonder? i. e. cannot these visions, without so much wonder and amazement, be presented to the disturbed imagination in the manner that air-visions, in summer-clouds, are presented to a wanton one: which sometimes shew a lion, a castle or a promontory? The thought is fine, and in character. Overcome is used for deceive.

Note return to page 440 [2] 2 You make me strange Ev'n to the disposition that I owe,] Which in plain English is only, You make me just mad.

Note return to page 441 [3] 3 Augurs, that understood relations, &lblank;] By relations is meant the relation one thing is supposed to bear to another. The ancient soothsayers of all denominations practised their art upon the principle of Analogy. Which analogies were founded in a superstitious philosophy arising out of the nature of ancient idolatry; which would require a volume to explain. If Shakespear meant what I suppose he did by relations, this shews a very profound knowledge of antiquity. But, after all, in his licentious way, by relations, he might only mean languages, i. e. the languages of birds.

Note return to page 442 for understand read understood.

Note return to page 443 [a] (a)Thane. Mr. Theobald. &lblank; Vulg. one.

Note return to page 444 [4] 4 Is the initiate fear, that wants hard use:] Initiate fear, for that fear which attends those who are but newly initiated in ill; and hard use, for use that make hardy. So that the sense is, my extravagant and imaginary visions arise only from that fear which beginners in ill are affected with, and which use soon overcomes.

Note return to page 445 [5] 5 &lblank; and affairs of death?] Alluding to their office, as explained in Note 8. Act 1. Scene 3.

Note return to page 446 [3] 3 &lblank; and receive free honours,] Free, for grateful.

Note return to page 447 [1] 1 Thrice the brinded cat hath mew'd.] A cat, from time immemorial, has been the agent and favourite of witches. This superstitious fancy is pagan, and very ancient; and the original, perhaps, this. When Galinthia was changed into a cat by the Fates, (says Antonius Liberalis, Metam. Cap. 29) by Witches, (says Pausanias in his Bœotics,) Hecate took pity of her, and made her her priestess; in which office she continues to this day. Hecate, herself too, when Typhon forced all the Gods and Goddesses to hide themselves in animals, assumed the shape of a cat. So Ovid, Fele soror Phœbi latuit.

Note return to page 448 [2] 2 In the poison'd entrails throw.] Every thing thrown into the cauldron is particularly enumerated, and yet we find no poison'd entrails amongst them; or if we did, why were they to be thus distinguish'd from the rest? I believe Shakespear wrote, &lblank; poison'd entremes &lblank; An old word used for ingredients; which the Editors, not knowing what to make of, turn'd to entrails; meaning, I suppose, the entrails of the Toad, which goes first to pot. The old stage direction seems to justify this change. [They march round the cauldron, and throw in the several ingredients, &c.]

Note return to page 449 [3] 3 Rebellious dead rise never, &lblank;] We should read, Rebellious head &lblank; i. e. Let rebellion never get to a head and be successful till &lblank; and then &lblank;

Note return to page 450 (a)air. Anonymus. &lblank; Vulg. hair.

Note return to page 451 [4] 4 That twofold balls and treble scepters carry.] This was intended as a compliment to King James the First, who first united the two islands and the three kingdoms under one head; whose house too was said to be descended from Banquo.

Note return to page 452 [5] 5 &lblank; the blood-bolter'd Banquo] Gildon has ridiculously interpreted blood-bolter'd, in a thing he calls a Glossary, to signify smear'd with dry blood; he might as well have said with extreme unction. Blood bolter'd means one whose blood hath issued out at many wounds, as flour of corn passes thro' the holes of a sieve. Shakespear used it to insinuate the barbarity of Banquo's murderers, who covered him with wounds.

Note return to page 453 [6] 6 Time, thou anticipat'st my dread exploits:] To anticipate one's deeds is properly to do them for one; but the contrary to this is the speaker's meaning. Shakespear therefore uses anticipat'st for defeatest, very licentiously. But to anticipate, being to do a thing beside expectation, tho' for one; and to defeat the doing a thing beside expectation, tho' against one; there was likeness enough in the ideas for him to use one word for the other.

Note return to page 454 [7] 7 The flighty purpose never is o'er-took, Unless the deed go with it. &lblank;] O'ertook is here used for coming to effect. The expression is bad, but the sense good; which is, that purposes delayed are generally defeated.

Note return to page 455 [8] 8 &lblank; when we are traitors, And do not know ourselves: &lblank;] i. e. We think ourselves innocent, the government thinks us traitors; therefore we are ignorant of ourselves. This is the ironical argument. The Oxford Editor alters it to, And do not know't ourselves: &lblank; But sure they did know what they said, that the State esteemed them traytors.

Note return to page 456 [9] 9 &lblank; when we hold rumour For what we fear &lblank;] To hold rumour, signifies to be govern'd by the authority of rumour.

Note return to page 457 [1] 1 To do worse to you were fell cruelty,] Who can doubt it? But this is not what he would say. A stranger, of ordinary condition, accosts a woman of quality without ceremony; and tells her abruptly, that her life and her childrens lives are in imminent danger. But seeing the effect this had upon her, he adds, as we should read it, To fright you thus, methinks, I am too savage; To do worship to you were fell cruelty, That is, but at this juncture to waste my time in the gradual observances due to your rank, would be the exposing your life to immediate destruction. To do worship signified, in the phrase of that time, to pay observance.

Note return to page 458 [2] 2 Let us seek out some desolate shade,] Desolate, for solitary simply. For the scene is in England, in profound peace, not amidst the distractions of Scotland.

Note return to page 459 [3] 3 Bestride our downfaln birth-doom:] To protect it from utter destruction. The allusion is to the Hyperaspists of the ancients, who bestrode their fellows faln in battle, and covered them with their shields.

Note return to page 460 [4] 4 &lblank; And yell'd out Like syllables of dolour.] This presents a ridiculous image. But what is insinuated under it is noble; that the portents and prodigies in the skies, of which mention is made before, shewed that Heaven sympathised with Scotland.

Note return to page 461 [5] 5 You may discern of him through me, &lblank;] By Macduff's answer it appears we should read, &lblank; deserve of him &lblank;

Note return to page 462 [6] 6 Those precious motives. &lblank;] Motives, for pledges.

Note return to page 463 [7] 7 His title is affear'd. &lblank;] Affear'd, a law-term for confirmed. Mr. Pope.

Note return to page 464 [8] 8 It is myself I mean, in whom I know] This conference of Malcolm with Macduff, is taken out of the chronicles of Scotland. Mr. Pope.

Note return to page 465 [9] 9 Sudden, malicious, &lblank;] Sudden, for capricious.

Note return to page 466 [1] 1 This Avarice Sticks deeper; grows with more pernicious root] We never say, the roots stick deep in the ground, but strike deep; which, doubtless, is the true reading.

Note return to page 467 [2] 2 &lblank; grows with more pernicious root Than summer-seeming lust;] Summer-seeming has no manner of sense: correct, Than summer-teeming lust; &lblank; i. e. The passion, which lasts no longer than the heat of life, and which goes off in the winter of age.

Note return to page 468 [3] 3 &lblank; foysons, &lblank;] Plenty. Mr. Pope.

Note return to page 469 [4] 4 &lblank; repeat'st upon thyself,] Repeat, for reckon up, charge upon.

Note return to page 470 [5] 5 All ready at A point, &lblank;] At a point, may mean all ready at a time; but Shakespear meant more: He meant both time and place, and certainly wrote, All ready at appoint, &lblank; i. e. At the place appointed, at the rendezvous.

Note return to page 471 [6] 6 &lblank; and the chance of goodness, Be like our warranted quarrel!] i. e. May the lot providence has decreed for us be answerable to the justice of our quarrel. The Oxford Editor alters it to, &lblank; our chance in goodness, A poor, cold unmeaning expression.

Note return to page 472 [7] 7 'Tis hard to reconcile.] To reconcile, for to bear with temper.

Note return to page 473 [8] 8 &lblank; their malady convinces] Convinces, for defeats, overcomes. Because in disputations, those who are convinced by others arguments are said to be overcome, therefore, where he wants to express the idea of being defeated, tho' not by arguments, he uses convince.

Note return to page 474 [9] 9 &lblank; and 'tis spoken, To the succeeding Royalty he leaves The healing Benediction &lblank;] It must be own'd, that Shakespear is often guilty of strange absurdities in point of history and chronology. Yet here he has artfully avoided one. He had a mind to hint that the cure of the Evil was to descend to the successors in the Royal line in compliment to James the first. But the Confessor was the first who pretended to this gift: How then could it be at that time generally spoken of that the gift was hereditary? this he has solved by telling us that Edward had the gift of prophecy along with it.

Note return to page 475 [1] 1 A modern ecstasie &lblank;] That is no more regarded than the contorsions that Fanatics throw themselves into. The author was thinking of those of his own times.

Note return to page 476 [2] 2 &lblank; witness'd the rather.] Witness'd, for confirm'd.

Note return to page 477 [1] 1 That, Sir, which I will not report after her.] I think it should rather be repeat.

Note return to page 478 [2] 2 to satisfie my remembrance the more strongly.] Both the sense and expression require we should read, to fortifie my remembrance.

Note return to page 479 [3] 3 My mind she'as mated, &lblank;] Conquer'd or subdued. Mr. Pope.

Note return to page 480 [4] 4 Would to the bleeding and the grim alarm] This line omitted in all but the first edition in Folio. Mr. Pope.

Note return to page 481 [5] 5 Excite the mortified man.] Mr. Theobald will needs explain this expression. It means (says he) the man who has abandoned himself to despair, who has no spirit or resolution left. And to support this sense of mortified man, he quotes mortified spirit in another place. But if this was the meaning, Shakespear had not wrote the mortified man but a mortified man. In a word by the mortified man, is meant a Religious; one who has subdued his passions, is dead to the world, has abandoned it, and all the affairs of it; an Ascetic.

Note return to page 482 [6] 6 Meet we the med'cine &lblank;] We should read medecin, i. e. the physician. Both the sense and pronoun him, in the next line, require it.

Note return to page 483 [7] 7 All mortal consequences, &lblank;] Consequences, for events.

Note return to page 484 [8] 8 &lblank; those linnen cheeks of thine Are Counsellors to fear.] The meaning is, they infect others who see them with cowardice.

Note return to page 485 [9] 9 &lblank; my way of life Is fall'n into the Sear, &lblank;] An Anonymus would have it, &lblank; my May of life: But he did not consider that Macbeth is not here speaking of his rule or government, or of any sudden change; but of the gradual decline of life, as appears from this line, And that, which should accompany old age. And way, is used for course, progress.

Note return to page 486 [1] 1 What rubarb, senna, &lblank;] Shakespear should not have instanced in the tribe of gentle purgatives when he talked of scouring out the English.

Note return to page 487 [2] 2 but the confident tyrant] The editors have here spoil'd the measure in order to give a tyrant an epithet that does not belong to him; (namely confidence, or reposing himself securely in any thing or person) while they rejected the true one, expressive of a tyrant's jealousy and suspicion, and declarative of the fact. We must surely read, &lblank; the confin'd tyrant.

Note return to page 488 [3] 3 What we shall say we have, and what we owe:] i. e. property and allegiance.

Note return to page 489 [4] 4 Were they not forc'd with those &lblank;] Forc'd, for re-inforc'd. Mr Pope.

Note return to page 490 [5] 5 &lblank; I have supt full with horrors;] The Oxford Editor alters this to, &lblank; surfeited with horrors; And so, for the sake of a politer phrase, has made the speaker talk absurdly. For the thing we surfeit of, we behold with uneasiness and abhorrence. But the speaker says, the things he supt full of, were grown familiar to him, and he viewed them without emotion.

Note return to page 491 [6] 6 The way to dusty death. &lblank;] We should read dusky, as appears from the figurative term lighted. The Oxford Editor has condescended to approve of it.

Note return to page 492 [7] 7 I pull in Resolution, &lblank;] Resolution, for confidence in another's word.

Note return to page 493 [1] 1 Let us revenge ourselves with our Pikes, ere we become Rakes:] It was Shakespear's design to make this fellow quibble all the way. But Time, who has done greater things, has here stifled a miserable joke; which was then the same as if it had been now wrote, Let us revenge our selves with forks ere we become rakes: For Pikes then signified the same as Forks does now. So Jewel in his own translation of his Apology, turns Christianos ad furcas condemnare, to,—To condemn Christians to the pikes. But the Oxford Editor, without knowing any thing of this, has with great sagacity found out the joke, and reads on his own authority Pitch forks.

Note return to page 494 [2] 2 What he cannot help in his nature, you count a vice in him:] Vice is here used inaccurately for crime. For a vice, that is, a defect in his nature, it was, by the confession of the speaker.

Note return to page 495 [3] 3 &lblank; I will venture To scale't a little more] Thus all the editions as Mr. Theobald confesses, who alters it to stale't. And for a good reason, because he can find no sense (he says) in the common reading. For as good a reason, I who can, have restored the old one to its place. To scale't signifying to weigh, examine and apply it. The author uses it again, in the same sense, in this very play, Scaling his present bearing with his past. And so Fletcher in The Maid in the Mill, What scale my invention before hand? you shall pardon me for that.

Note return to page 496 [4] 4 &lblank; even so most fitly,] i. e. exactly.

Note return to page 497 [5] 5 &lblank; bale.] This word spelt right by Mr. Theobald.

Note return to page 498 [6] 6 &lblank; What would you have, ye Curs, That like nor peace, nor war? The one affrights you, The other makes you proud. &lblank;] That they did not like war is evident from the reason assigned, of its frighting them; but why they should not like peace (and the reason of that too is assigned) will be very hard to conceive. Peace, he says, made them proud, by bringing with it an increase of wealth and power, for those are what make a people proud; but then those are what they like but too well, and so must needs like peace the parent of them. This being contrary to what the text says, we may be assured it is corrupt, and that Shakespear wrote, That likes not peace, nor war? &lblank; i. e. Whom neither peace nor war fits or agrees with, as making them either proud or cowardly. By this reading, peace and war, from being the accusatives to likes, become the nominatives. But the Editors not understanding this construction, and seeing likes a verb singular, to Curs a noun plural, which they suppos'd the nominative to it, would, in order to shew their skill in grammar, alter it to like; but likes for pleases was common with the writers of this time. So Fletcher's Maid's Tragedy; What look likes you best?

Note return to page 499 [7] 7 Shouting their emulation.] Shouting their emulation is no very elegant expression. I rather think Shakespear wrote, Suiting their emulation. That is, the action of throwing their caps on high, suited or agreed with their aspiring thoughts.

Note return to page 500 [8] 8 The present Wars devour him; he is grown Too proud, to be so valiant.] Mr. Theobald says, This is obscurely expressed, but that the poet's meaning must certainly be this, that Marcius is so conscious of, and so elate upon the notion of his own valour, that he is eaten up with pride, &c. According to this critick then, we must conclude, that when Shakespear had a mind to say, A man was eaten up with pride, he was so great a blunderer in expression, as to say, He was eaten up with war. But our poet wrote at another rate, and the blunder is his critick's. The present wars devour him, is an imprecation, and should be so pointed. As much as to say, May he fall in these wars! The reason of the curse is subjoined, for (says the speaker) having so much pride with so much valour, his life, with increase of honours, is dangerous to the Republick. But the Oxford Editor alters it to, Too proud of being so valiant. And by that means takes away the reason the speaker gives for his cursing.

Note return to page 501 [9] 9 &lblank; for the remove Bring up your Army: &lblank;] The first part of this sentence is without meaning. The General had told the Senators that the Romans had prest a power, which was on foot. To which, the words in question are the answer of a senator. And to make them pertinent, we should read them thus, &lblank; 'fore they remove Bring up your Army: &lblank; i. e. Before that power, already on foot, be in motion, bring up your army; then he corrects himself and says, but I believe you will find your intelligence groundless, the Romans are not yet prepared for us.

Note return to page 502 [a] [(a) sensible, out-does. Dr. Thirlby.—Vulg. sensibly out dares.]

Note return to page 503 [b] [(b) Cato's. Mr. Theobald.—Vulg. Calvus.]

Note return to page 504 [1] 1 &lblank; The Roman Gods &c. That both our Powers &lblank; May give you thankful sacrifice!] This is an address and invocation to them, therefore we should read, &lblank; Ye Roman Gods.

Note return to page 505 [2] 2 Ransoming him, or pitying, &lblank;] i. e. remitting his ransom.

Note return to page 506 [3] 3 And that you not delay the present, &lblank;] Delay, for let slip.

Note return to page 507 [4] 4 As cause will be obey'd;] Cause, for occasion.

Note return to page 508 [5] 5 &lblank; when drums and trumpets shall, I' th' field, prove flatterers, let courts and cities Be made all of false-fac'd soothing. When steel grows soft as the parasite's silk, Let him be made an overture for th' wars: &lblank;] All here is miserably corrupt and disjointed. We should read the whole thus, &lblank; when drums and trumpets shall, I' th' field, prove flatterers, let camps, as cities, Be made of false-fac'd soothing! When steel grows Soft as the parasite's silk, let hymns be made An overture for th' wars! &lblank; The thought is this, If one thing changes its usual nature to a thing most opposite, there is no reason but that all the rest which depend on it should do so too. [If drums and trumpets prove flatterers, let the camp bear the false face of the city.] And if another changes its usual nature, that its opposite should do so too. [When steel softens to the condition of the parasite's silk, the peaceful hymns of devotion should be employed to excite to the charge.] Now, in the first instance, the thought, in the common reading, was entirely lost by putting in courts for camps; and the latter miserably involved in nonsense, by blundering Hymns into him.

Note return to page 509 [6] 6 To undercrest your good Addition,] A phrase from heraldry, signifying, that he would endeavour to support his good opinion of him.

Note return to page 510 [7] 7 To th' fairness of my Power.] Fairness, for utmost.

Note return to page 511 [8] 8 &lblank; not sleep, nor sanctuary &c. Embarkments all of fury, &c. &lblank;] The dramatic art of this speech is great. For after Aufidius had so generously received Coriolanus in exile, nothing but the memory of this speech, which lets one so well into Aufidius's nature, could make his after perfidy and baseness at all probable. But the second line of this impious rant is corrupt. For tho', indeed, he might call the assaulting Marcius at any of those sacred seasons and places an embarkment of fury; yet he could not call the seasons and places themselves, so. We may believe therefore that Shakespear wrote, Embarrments all of fury, &c. &lblank; i. e. obstacles. Tho' those seasons and places are all obstacles to my fury, yet &c. The Oxford Editor has, in his usual way, refined upon this emendation, in order to make it his own; and so reads, Embankments, not considering how ill this metaphor agrees with what is said just after of their lifting up their rotten privilege, which evidently refers to a wooden bar, not to an earthen bank. These two Generals are drawn equally covetous of glory: But the Volscian not scrupulous about the means. And his immediate repentance, after the assassinate, well agrees with such a character.

Note return to page 512 [1] 1 bisson [blind] spelt right by Mr. Theobald.

Note return to page 513 [2] 2 you wear out a good &c] It appears, from this whole speech that Shakespear mistook the office of Præfectus urbis for the Tribune's office.

Note return to page 514 [2] 2 Take my cap, Jupiter, and I thank thee] Tho' Menenius is made a prater and a boon-companion, yet it was not the design of the poet to have him prophane, and bid Jupiter take his cap. Shakespear's thought is very different from what his editors dream'd of. He wrote, Take my cup, Jupiter. i. e. I will go offer a Libation to thee, for this good news: which was the custom of that time. There is a pleasantry, indeed, in his way of expressing it, very agreeable to his convivial character. But the editors, not knowing the use of this cup, alter'd it to cap.

Note return to page 515 [3] 3 He receiv'd in the repulse of Tarquin seven hurts i' th' body. Men. One i' th' neck, and two i' th' thigh: there's nine, that I know.] Seven,—one,—and two, and these make but nine? Surely, we may safely assist Menenius in his Arithmetick. This is a stupid blunder; but wherever we can account by a probable reason for the Cause of it, That directs the emendation. Here it was easy for a negligent transcriber to omit the second one as a needless repetition of the first, and to make a numeral word of too.

Note return to page 516 [4] 4 My gracious silence, hail!] The epithet to silence shews it not to proceed from reserve or sullenness, but to be the effect of a virtuous mind possessing itself in peace. The expression is extremely sublime; and the sense of it conveys the finest praise that can be given to a good woman.

Note return to page 517 [5] 5 But, with them, Change of honours.] So all the Editions read. But Mr. Theobald has ventured (as he expresses it) to substitute, charge. For change, he thinks, is a very poor expression, and communicates but a very poor idea. He had better have told the plain truth, and confessed that it communicated none at all to him: However it has a very good one in itself; and signifies variety of honours; as change of rayment, amongst the writers of that time, signified variety of rayment.

Note return to page 518 *Into a rapture &lblank;] Rapture, a common term at that time used for a fit, simply. So to be rap'd signified, to be in a fit.

Note return to page 519 [6] 6 Commit the war of white and damask, in Their nicely-gawded cheeks, &lblank;] This commixture of white and red could not, by any figure of speech, be called a war, because it is the agreement and union of the colours that make the beauty. We should read, &lblank; the ware of white and damask &lblank; i. e. the commodity, the merchandise.

Note return to page 520 *As he is proud to do't.] I should rather think the author wrote prone: because the common reading is scarce sense or English.

Note return to page 521 [7] 7 The Theam of our Assembly.] Here is a fault in the expression: And had it affected our Author's knowledge of nature, I should have adjudged it to his transcribers or editors; but as it affects only his knowledge in history, I suppose it to be his own. He should have said your Assembly. For 'till the Lex Attinia (the author of which is supposed by Sigonius, [De vetere Italiæ Jure] to have been contemporary with Quintus Metellus Macedonicus) the Tribunes had not the privilege of entring the Senate, but had seats placed for them near the door on the outside of the house.

Note return to page 522 for gain read gan.

Note return to page 523 [8] 8 Than Misery itself would give, &lblank;] Misery, for avarice; because a Miser signifies an Avaricious.

Note return to page 524 [9] 9 Com. &lblank; and is content To spend his time to end it. Men. He's right noble.] The last words of Cominius's speech are altogether unintelligible. Shakespear, I suppose, wrote the passage thus, &lblank; and is content To spend his time &lblank; Men. To end it, He's right noble. Cominius in his last words was entering on a new topic in praise of Coriolanus; when his warm friend Menenius, impatient to come to the subject of the honours designed him, interrupts Cominius, and takes him short with,—to end it. i. e. to end this long discourse in one word, he's right noble. Let him be called for. This is exactly in character, and restores the passage to sense.

Note return to page 525 [1] 1 It then remains, That you do speak to th' People.] Coriolanus was banished U. C. 262. But till the time of Manlius Torquatus U. C. 393, the Senate chose both the Consuls: And then the people, assisted by the seditious temper of the Tribunes, got the choice of one. But if he makes Rome a Democracy, which at this time was a perfect Aristocracy; he sets the balance even in his Timon, and turns Athens, which was a perfect Democracy, into an Aristocracy. But it would be unjust to attribute this entirely to his ignorance; it sometimes proceded from the too powerful blaze of his imagination, which when once lighted up, made all acquired knowledge fade and disappear before it. For sometimes again we find him, when occasion serves, not only writing up to the truth of history, but fitting his sentiments to the nicest manners of his peculiar subject, as well to the dignity of his characters, or the dictates of nature in general.

Note return to page 526 [2] 2 Once,] Once here means the same as when we say, once for all.

Note return to page 527 [3] 3 We have a Power in our selves to do it, but it is a Power that we have no Power to do;] I am persuaded this was intended as a ridicule on the Augustine manner of defining free-will at that time in the schools.

Note return to page 528 [a] [(a) many-headed Monster. Oxford Editor.—Vulg. many-headed Multitude.]

Note return to page 529 [4] 4 if all our wits were to issue out of one scull, &c.] Meaning, though our having but one interest was most apparent, yet our wishes and projects would be infinitely discordant. This meaning the Oxford Editor has totally discharged, by changing the text thus, &lblank; issue out of our sculls.

Note return to page 530 [5] 5 the fourth would return for conscience sake, to help to get thee a Wife] A sly satirical insinuation how small a capacity of wit is necessary for that purpose: But every day's experience of the Sex's prudent disposal of themselves, may be sufficient to inform us how unjust it is.

Note return to page 531 [6] 6 I would, they would forget me, like the Virtues Which our Divines lose by 'em.] i. e. The virtues which divines recommend. These by a fine figure he represents as lost upon unmoved hearers. But the Oxford Editor, who does all he can to make the poet unpoetical, alters virtues to advices.

Note return to page 532 [7] 7 &lblank; aged Custom,] This was a strange inattention. The Romans at this time had but lately changed the regal for the consular government; for Coriolanus was banished the eighteenth year after the expulsion of the kings.

Note return to page 533 [8] 8 &lblank; ignorant to see't?] The Oxford Editor alters ignorant to impotent, not knowing that ignorant at that time signified impotent.

Note return to page 534 [9] 9 And Censorinus, darling of the people,] This verse I have supplied: a line having been certainly left out in this place, as will appear to any one who consults the beginning of Plutarch's life of Coriolanus, from whence this passage is directly translated. Mr. Pope.

Note return to page 535 [1] 1 And Censorinus, &lblank; Was his great Ancestor.] Now the first Censor was created U. C. 314, and Coriolanus was banished U. C. 262. The truth is this, the passage, as Mr. Pope observes above, was taken from Plutarch's life of Coriolanus; who, speaking of the house of Coriolanus, takes notice both of his Ancestors and of his Posterity, which our author's haste not giving him leave to observe, has here confounded one with the other. Another instance of his inadvertency, from the same cause, we have in the first part of Henry IV. where an account is given of the prisoners took on the plains of Holmedon. Mordake the Earl of Fife, and eldest Son To beaten Douglas &lblank; But the Earl of Fife was not son to Douglas, but to Robert Duke of Albany governor of Scotland. He took his account from Holingshead, whose words are, And of prisoners amongst others were these, Mordack Earl of Fife, son to the governor Arkimbald Earl Douglas, &c. And he imagined that the governor and Earl Dowglas were one and the same person.

Note return to page 536 [1] 1 &lblank; why rule you not their teeth?] The metaphor is from mens setting a Bull-dog or Mastiff upon any one.

Note return to page 537 [2] 2 Not unlike, each way, to better yours.] i. e. likely to provide better for the security of the commonwealth than you (whose business it is) will do. To which the reply is pertinent, Why then should I be Consul? Yet the restless humour of reformation in the Oxford Editor disturbs the text to, &lblank; better you.

Note return to page 538 [3] 3 &lblank; minnows? &lblank;] i. e. Small fry.

Note return to page 539 [4] 4 You grave, but wreckless Senators, &lblank;] We should read, &lblank; reckless Senators, &lblank; i. e. Careless.

Note return to page 540 [5] 5 The horn and noise &lblank;] Alluding to his having called him Triton before.

Note return to page 541 [6] 6 Then vail your ignorance; &lblank;] Ignorance, for impotence; because it makes impotent. The Oxford Editor not understanding this, transposes the whole sentence according to what in his fancy is accuracy.

Note return to page 542 [7] 7 Than ever frown'd in Greece! &lblank;] i. e. That ever projected or executed laws.

Note return to page 543 [8] 8 &lblank; and my soul akes] The mischief and absurdity of what is called Imperium in imperio, is here finely expressed.

Note return to page 544 [9] 9 &lblank; could never be the native] Native, for natural birth.

Note return to page 545 *No, take more. What may be sworn by, both divine and human, Seal what I end withal! &lblank;] The false pointing hath made this unintelligible. It should be read and pointed thus, No, take more; What may be sworn by. Both Divine and Human Seal what I end withal! &lblank; i. e. No, I will still proceed, and the truth of what I shall say may be sworn to. And may both Divine and Human powers [i. e. the Gods of Rome and Senate] confirm and support my conclusion.

Note return to page 546 [1] 1 &lblank; purpose so barr'd, it follows. Nothing is done to purpose, &lblank;] This is so like Polonius's eloquence, and so much unlike the rest of Coriolanus's language, that I am apt to think it spurious.

Note return to page 547 [2] 2 That love the fundamental part of State More than you doubt the change of't; &lblank;] i. e. Who are so wedded to accustomed forms in the administration, that in your care for the preservation of those, you overlook the danger the constitution incurs by strictly adhering to them. This the speaker, in vindication of his conduct, artfully represents to be his case; yet this pertinent observation the Oxford Editor, with one happy dash of

Note return to page 548 [3] 3 Mangles true judgment, &lblank;] Judgment, for government.

Note return to page 549 [4] 4 &lblank; which should become it:] Become, for adorn.

Note return to page 550 [a] [(a) it must be law. Oxford Editor.—Vulg. it must be meet]

Note return to page 551 [5] 5 Com. Stand fast, &c.] This speech certainly should be given to Coriolanus; for all his friends persuade him to retire. So Cominius presently after; Come, Sir, along with us.

Note return to page 552 [6] 6 This is clean kam.] i. e. Awry. So Cotgrave interprets Tout va à contrepoil, All goes clean kam. Hence a Kambrel for a crooked stick, or the bend in a horse's hinder-leg.

Note return to page 553 [7] 7 Men. The service of the foot, &c.] Nothing can be more evident than that this could never be said by Coriolanus's apologist, and that it was said by one of the Tribunes; I have therefore given it to Sicinius.

Note return to page 554 [7] 7 Before he thus should stoop to th' Heart &lblank;] This nonsense should be reformed thus, Before he thus should stoop to th' Herd. i. e. the people.

Note return to page 555 [8] 8 &lblank; I am in this Your Wife, your Son: the Senators, the Nobles.— And You, &c.] The pointing of the printed copies makes stark nonsense of this passage. Volumnia is persuading Coriolanus that he ought to flatter the people, as the general fortune was at stake; and says, that, in this advice, she speaks as his wife, as his son; as the Senate, and body of the Patricians; who were in some measure link'd to his conduct.

Note return to page 556 [9] 9 &lblank; waving thy head, Which often, thus, correcting thy stout heart.] But do any of the ancient, or modern masters of elocution prescribe the waving the head, when they treat of action? Or how does the waving the head correct the stoutness of the heart, or evidence humility? Or lastly, where is the sense or grammar of these words, Which often thus, &c? These questions are sufficient to shew that the lines are corrupt. I would read therefore, &lblank; waving thy hand, Which soften thus, correcting thy stout heart. This is a very proper precept of action suiting the occasion; Wave thy hand, says she, and soften the action of it thus,—then strike upon thy breast, and by that action shew the people thou hast corrected thy stout heart. All here is fine and proper.

Note return to page 557 [1] 1 &lblank; single plot &lblank;] i. e. piece, portion; applied to a piece of earth, and here elegantly transferred to the body, carcase.

Note return to page 558 [2] 2 &lblank; and to have his word of contradiction.] The sense here falls miserably. He hath been used, says the speaker, ever to conquer—And what then? —and to contradict. We should read and point it thus, &lblank; And to have his word, off contradiction. &lblank; i. e. to have his opinion carry it without contradiction. Here the sense rises elegantly. He used ever to conquer; nay to conquer without opposition.

Note return to page 559 [3] 3 &lblank; which looks With us to break his neck.] A familiar phrase of that time, signifying works with us. But the Oxford Editor understanding the sense better than the expression, gives us here Shakespear's meaning in his own words.

Note return to page 560 [4] 4 &lblank; plant love amongst you Through our large Temples with the shews of peace, And not our streets with war!] We should read, Throng our large Temples. The other is rank nonsense.

Note return to page 561 [1] 1 &lblank; being gently warded, &lblank;] Gently, for nobly.

Note return to page 562 [2] 2 My first Son,] First, i. e. noblest, most eminent of men.

Note return to page 563 [3] 3 My friends of noble touch:] i. e. of true metal unallay'd. Metaphor taken from trying gold on the touchstone.

Note return to page 564 [4] 4 but your favour is well appear'd by our tongue.] This is strange nonsense. We should read, &lblank; is well appeal'd, i. e. brought into remembrance.

Note return to page 565 [5] 5 Oh, world, thy slippery turns! &c.] This fine picture of common friendships, is an artful introduction to the sudden league, which the poet makes him enter into with Aufidius: and no less artful an apology for his commencing enemy to Rome.

Note return to page 566 [6] 6 &lblank; A good memory.] The Oxford Editor, not knowing that memory was used at that time for memorial, alters it to memorial.

Note return to page 567 [7] 7 because they then less need one another:] Shakespear when he chooses to give us some weighty observation upon human nature, not much to the credit of it, generally (as the intelligent reader may observe) puts it into the mouth of some low buffoon character.

Note return to page 568 [8] 8 &lblank; can no more atone,] This is a very elegant expression, and taken from unison strings giving the same tone or sound.

Note return to page 569 [9] 9 &lblank; burned in their cement.] Cement, for cincture or inclosure; because both have the idea of holding together.

Note return to page 570 [1] 1 As is the Osprey &lblank;] Osprey, a kind of eagle, Ossifraga. Mr. Pope.

Note return to page 571 [2] 2 Asprey] Spelt right by Mr. Theobald.

Note return to page 572 [3] 3 And Power, unto it self most commendable, Hath not a tomb so evident, as a chair T' extol what it hath done.] This is a common thought, but miserably ill expressed. The sense is, the virtue which delights to commend itself, will find the surest Tomb in that Chair wherein it holds forth its own commendations. &lblank; unto it self most commendable. i. e. which hath a very high opinion of itself.

Note return to page 573 [4] 4 Right's by right fouler,] This has no manner of sense. We should read, Right's by right fouled. Or, as it is commonly written in English, foiled, from the French, fouler, to tread or trample under foot.

Note return to page 574 [1] 1 &lblank; that have rack'd for Rome,] We should read reck'd, i. e. been careful, provident for. In this insinuation of their only minding trifles, he satirizes them for their injustice to Coriolanus; which was like to end in the ruin of their country. The Oxford Editor seeing nothing of this reads, &lblank; have sack'd fair Rome.

Note return to page 575 [2] 2 It was a bare petition &lblank;] Bare, for mean, beggarly.

Note return to page 576 [3] 3 He was not taken well, he had not din'd. &c.] This observation is not only from nature, and finely expressed, but admirably befits the mouth of one, who in the beginning of the play had told us, that he loved convivial doings.

Note return to page 577 [a] [(a) not yield to new. Oxford Editor.—Vulg. to yield to his.]

Note return to page 578 [4] 4 So that all hope is vain, unless his mother And wife, who (as I hear) mean to sollicit him For mercy to his country.] Unless his mother and wife—do what? the sentence is imperfect. We should read, Force mercy to his Country. &lblank; and then all is right.

Note return to page 579 [5] 5 For I have ever verified my friends, &lblank; with all the size that verity &c.] Shakespear's mighty talent in painting the manners, is especially remarkable in this place. Menenius here, and Polonius in Hamlet, have much of the same natural character. The difference is only accidental. The one was a senator in a free state; and the other a courtier, and minister to a King; which two circumstances afforded matter for that inimitable ridicule thrown over the character of Polonius. For the rest, there is an equal complaisance for those they follow; the same disposition to be a creature, the same love of prate; the same affectation of wisdom, and forwardness to be in business. But we must never believe Shakespear could make either of them say, I have verified my friends with all the size of verity; nay what is more extraordinary verified them beyond verity. Without doubt he wrote, For I have ever narrified my friends, i. e. made their encomium. This too agrees with the foregoing metaphors of book, read, and constitutes an uniformity amongst them. From whence the Oxford Editor took occasion to read magnified: which makes the absurdity much worse than he found it: for, to magnify signifies to exceed the truth; so that this critic makes him say he magnified his friend within the size of verity: i. e. he exceeded truth even while he kept within it.

Note return to page 580 [6] 6 the virginal palms of your daughters,] By virginal palms may be indeed understood the holding up the hands in supplication. Therefore I have alter'd nothing. But as this sense is cold, and gives us even a ridiculous idea; and as the passions of the several intercessors seem intended to be here represented, I suspect Shakespear might write pasmes or pames, i. e. swooning fits, from the French pasmer, or pâmer. I have frequently used the liberty to give sense to an unmeaning passage by the introduction of a French word of the same sound, which I suppose to be of Shakespear's own coining. And I am certainly justified in so doing, by the great number of such sort of words to be found in the common text. But for a further justification of this liberty, take the following instance; where all must agree that the common reading is corrupt by the Editor's inserting an English word they understood, instead of one coined by Shakespear out of French, which they understood not. It is in his Tarquin and Lucrece, where he is speaking of the office and empire of Time, and the effects it produces in the world, Time's glory is &lblank; To fill with worm-holes stately monuments, To feed oblivion with decay of things; To blot old books and alter their contents; To pluck the quills from ancient ravens wings; To dry the old oak's sap, and cherish springs. The two last words, if they make any sense it is such as is directly contrary to the sentiment here advanced; which is concerning the decays, not the repairs of time. The poet certainly wrote, To dry the old oak's sap, and tarish springs. i. e. dry up springs, from the French, tarir or tarissement, exarefacere, exsiccatio: These words being peculiarly applied to springs or rivers.

Note return to page 581 [7] 7 Back, I say, go; lest I let forth your half pint of Blood. Back, that's the utmost of your having, back.] As these words are read and pointed, the sentence [that's the utmost of your having] signifies, you are like to get no further. Whereas the author evidently intended it to refer to the half pint of blood he speaks of, and to mean, that that was all he had in his veins. The thought is humourous; and to disembarras it from the corrupt expression, we should read and point it thus, Lest I let forth your half pint of blood: that's the utmost of your having. Back, back.

Note return to page 582 [8] 8 With the consent of supream Jove.] This is inserted with great decorum. Jupiter was the tutelary God of Rome.

Note return to page 583 [9] 9 To Shame unvulnerable, &lblank;] A soldier's honour is finely expressed in these words.

Note return to page 584 [1] 1 And yet to change thy sulphur] We should read charge. The meaning of the passage is, To threaten much and yet be merciful.

Note return to page 585 [2] 2 Cor. &lblank; Come, enter with us: Ladies, you deserve, &c.] This speech beginning at, Ladies, you deserve—which is absurdly given to Coriolanus, belongs to Aufidius. For it cannot be supposed that the other, amidst all the disorder of violent and contrary passions, could be calm and disengaged enough to make so gallant a compliment to the ladies. Let us farther observe from this speech where he says, &lblank; all the swords In Italy, and her confed'rate arms And from that a little before, &lblank; Let the Volscians Plough Rome, and harrow Italy; &lblank; That the poet's head was running on the later grandeur of Rome, when as at this time her dominion extended only a few miles round the city.

Note return to page 586 [3] 3 than an eight years old horse.] Subintelligitur remembers his dam.

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