Jul. His little speaking shows his love but small. Luc. Fire that's closest kept burns most of all. Jul. They do not love that do not show their love.

Luc. Oh, they love least that let men know their love.

Jul. I would I knew his mind.

Luc. Peruse this paper, madam. [Gives a letter.
Jul. [reads] “To Julia.”—Say, from whom?
Luc. That the contents will show.
Jul. Say, say, who gave it thee?

Luc. Sir Valentine's page; and sent, I think, from Protcus.

He would have given it you; but I, being in the

Jul. Will you be gone? Luc.

That you may ruminate. [Exit.

Ful. And yet I would I had o'erlook'd the letter:

It were a shame to call her back again,
And pray her to a fault for which I chid her.
What fool is she, 18 that knows I am a maid,
And would not force the letter to my view!
Since maids, in modesty, say "No" to that
Which they would have the profferer construe,
"Ay."

Fie, fie, how wayward is this foolish love,
That, like a testy babe, will scratch the nurse,
And presently, all humbled, kiss the rod
How churlishly I chid Lucetta hence,
When willingly I would have had her here!
How angerly I taught my brow to frown,

16. Fire. Here pronounced as a dissyllable. It was used either thus or monosyllabically at the pleasure of former writers, according as the need of their rhythm demanded.

17. Broker. Used for a match-maker, a go-between; and sometimes with the utmost degradation and infamy attaching to such agents.

18. What fool is she. A form of phraseology formerly used, where we should now say-'What a fool is she.'

19. Stomach. Here used in the combined sense of 'anger' and 'hunger.'

Luc.

To take a paper up that I let fall.
Jul. And is that paper nothing?
Luc. Nothing concerning me.

Jul. Then let it lie for those that it concerns. Luc. Madam, it will not lie where it concerns, Unless it have a false interpreter.

Jul. Some love of yours hath writ to you in rhyme.

Luc. That I might sing it, madam, to a tune. Give me a note: your ladyship can set.20

Jul. As little by such toys as may be possible. Best sing it to the tune of "Light o' love." Luc. It is too heavy for so light a tune. Jul. Heavy! belike it hath some burden, then? Luc. Ay; and melodious were it, would you sing it.

ful. And why not you? Luc.

Jul. Let's see your song.

How now, minion!

I cannot reach so high. [Taking the Letter.]

20. Set. Said, in the sense of setting words to music; taken, in the sense of setting store by, prizing, or valuing. 21. Light & Love. The name of a then popular song; and more than once alluded to by Shakespeare.

22. Descant. A musical term, signifying what we now call 'a variation.' By "a mean," Lucetta intends to say a tenor voice; and she afterwards plays on the word "base," which applies to a voice of low register, and to a period in the game called 'prison-base,' when one player runs, challenging another to pursue. This introduction of quibbles upon musical terms,

Oh, hateful hands, to tear such loving words! Injurious wasps, to feed on such sweet honey, And kill the bees, that yield it, with your stings! I'll kiss each several paper for amends.

I see things too, although you judge I wink.27 Jul. Come, come; will't please you go? [Exeunt.

I throw thy name against the bruising stones,
Trampling contemptuously on thy disdain.
And here is writ-" Love-wounded Proteus:"
Poor wounded name!-my bosom, as a bed,
Shall lodge thee, till thy wound be throughly
heal'd;

And thus I search it with a sovereign kiss.

But twice or thrice was "Proteus" written down:-
Be calm, good wind, blow not a word away,
Till I have found each letter in the letter,
Except mine own name: that some whirlwind bear
Unto a ragged, fearful, hanging rock,
And throw it thence into the raging sea!—
Lo, here in one line is his name twice writ,-
"Poor forlorn Proteus, passionate Proteus,
To the sweet Julia :"—that I'll tear away;
And yet I will not, sith so prettily
He couples it to his complaining names.
Thus will I fold them one upon another:
Now kiss, embrace, contend, do what you will.

shows that they were not unfamiliar to the general audience; while the indication that, among other accomplishments, Julia was sufficient mistress of musical composition to set verses to music, gives evidence of the state of cultivation of the art by

ladies at that time.

23. Coil. Turmoil, uproar; in familiar parlance, fuss. 24. Nay, would I were so anger'd with the same! One of the best modern editors thinks this should form part of Lucetta's speech; adding-" In the mouth of her mistress it seems senseless and absurd." But is it not natural that Julia, overhearing Lucetta's parting muttered fling, should reply by a confession, the moment she is alone, that she would fain be so angered (that is, pretendedly) by the very same letter which she soon flies to, picks up, and eagerly reads? We can fancy her, after this confession, coyly eyeing the torn letter for a few seconds, thenwith a shy, furtive glance around, lest she be observed-speeding to the spot where it lies, gathering up the fragments, devouring their contents, and pressing the "loving words" to her lips and

House.

Enter ANTONIO and PANTHINO.

Ant. Tell me, Panthino, what sad 28 talk was that

Wherewith my brother held you in the cloister? Pan. 'Twas of his nephew Proteus, your son. Ant. Why, what of him?

Pan. He wonder'd that your lordship Would suffer him to spend his youth at home, While other men, of slender reputation, Put forth their sons to seek preferment out: Some to the wars, to try their fortune there; Some to discover islands far away; Some to the studious universities. For any, or for all these exercises, He said that Proteus your son was meet; And did request me to impòrtune you To let him spend his time no more at home, Which would be great impeachment to his age, 29 In having known no travel in his youth.

bosom. Without this line as its introduction, the speech would come abruptly; and there would be nothing to explain that Julia's previous aversion was assumed.

25. For catching cold. An elliptical mode of expressing, 'for fear of catching cold.'

26. A month's mind. This expression, which passed into familiar use as signifying an earnest wish or longing for anything, is said to have originated in a much more solemn application,-the periodical celebration of mass for the souls of deceased persons, called a month's mind.' It probably arose from the strong yearning and devout desire supposed to possess those who offered these obsequial observances on behalf of departed friends.

27. Wink. Shakespeare almost always uses this word to express closing the eyes to the exclusion of sight.

28. Sad. Serious, sedate, grave.

29. Impeachment. Used here in the sense of imputation, ground of reproach; and in the sense of hindrance, drawback,