cannot bring ourselves to doubt its being the right one in this passage. We cannot believe that he would have employed the expression "sound" to imply that which "gives odour;" whereas, "the sweet south" at once suggests that balmy air which Shakespeare elsewhere places in extremity of contrast with the fierce "septentrion" and "frozen bosom of the north." Not merely does the passage in the text make us fancy (with Steevens) that Shakespeare may have been thinking of Sidney's Arcadia-where we find, "Her breath is more sweet than a gentle south-west wind, which comes creeping over flowery fields and shadowed waters in the extreme heat of summer; " especially as these words of Sir Philip are soon after followed by the expression, "the flock of unspeakable virtues," which is paralleled by Shakespeare's "the flock of all affections else that live in her," a little farther on in the text-but we also believe that he may have had before his mind Bacon's sentence of similar beauty, "The breath of flowers is far sweeter in the air (where it comes and goes like the warbling of music) than in the hand." 4. Quick. Shakespeare uses this word here, and elsewhere, in the sense of 'lively,' ' vital.' 5. Validity. Value. See Note 51, Act v., 6. Fancy. Love; enamoured imagination. "All's Well." 7. It alone is high fantastical. 'It is singularly and preeminently fantastical.' "Alone" is here used somewhat in the same idiomatic way that is pointed out in Note 44, Act iii., "Midsummer Night's Dream." 8. Turn'd into a hart. An allusion to the story of Acteon, who, when out hunting, saw Diana bathing, and was by the resentful goddess transformed into a stag, whereupon his own dogs devoured him. Thus, by implication, the Duke twice in the present speech does homage to Olivia's purity: once by declaring that her very presence "purged the air of pestilence;" secondly, by inferring her to be, as it were, Diana herself. 9. Till seven years' heat. This appears to us to be one of Shakespeare's ellipses of expression; and we interpret the passage to mean-'The firmament itself, till it shall have known A brother's dead love,10 which she would keep fresh And lasting in her sad remembrance. Duke. Oh, she that hath a heart of that fine frame, To pay this debt of love but to a brother, 13. Her sweet perfection. "Perfection" is printed in the Folio 'perfections,' which plural form of the word permits but difficult interpretation of the passage, even supposing 'perfections' to mean 'perfect qualities.' But taking "perfection" to be used here for perfectioning' (as Shakespeare elsewhere uses words similarly spelt; see Note 24, Act iv., “As You Like It"), a sense is given that entirely harmonises with the then prevailing doctrine, that a woman was perfected by marriage. Not only do several contemporaneous writers advert to this doctrine, but Shakespeare himself has a passage that directly alludes to it. It is in "King John," Act ii., sc. 1, where the citizen of Angiers urges the match between Lewis the Dauphin and Blanch of Castile, saying "He is the half part of a blessed man, Very noteworthy it is, too, that Shakespeare-with his own 14. One self king! Here, one self king" has the combined effect of 'one self-same king,' 'one exclusive king,' and 'a king one and the same with herself,' or a king identical with her own self; so comprehensive in manifold senses are Shakespeare's expressions. Sir Toby. What a plague means my niece, to take the death of her brother thus? I am sure care's an enemy to life. Cap. True, madam: and, to comfort you with Where, like Arion on the dolphin's back, 16 When you, and those poor number 15 sav'd with you, Hung on our driving boat, I saw your brother, (Courage and hope both teaching him the practice) 15. Those poor number. "Those" has been changed to 'that,' or to this,' in the present passage; but the poet uses "number" plurally here. 16. Like Arion on the dolphin's back. The Folio misprints 'Orion' for "Arion," who was a famous poet and musician of Lesbos; and having acquired great riches in Italy, was returning to his native isle, when the sailors of the ship in which he was resolved to murder him, to obtain his wealth. He besought leave to play once more ere he died; and the sweet sound of his Vio. born music having attracted several dolphins round the vessel, when he threw himself overboard on ending his dirge-song, one of them took him on its back safely to land. The poetical allusion to this beautiful mythological story gives grace to the present passage; and, moreover, heightens the diversity which Shakespeare has given to his two descriptions-each fine-of a manly youth saving himself from shipwreck. See the parallel passage in "The Tempest," Act ii., sc. 1: "I saw him beat the surges under him and ride upon their backs," &c. In the protection of his son, her brother, Who shortly also died: for whose dear love, They say, she hath abjur'd the company And sight 20 of men. Vio. Oh, that I serv'd that lady! And might not be deliver'd to the world, Till I had made mine own occasion mellow,21 What my estate is. Cap. That were hard to compass; Because she will admit no kind of suit, No, not the duke's. And though that nature with a beauteous wall I will believe thou hast a mind that suits Cap. Be you his minstrel, and your mute I'll be; When my tongue blabs, then let mine eyes not see. Vio. I thank thee: lead me on. [Exeunt. SCENE III.-A Room in OLIVIA'S House Enter Sir TOBY BELCH and MARIA. Sir To. What a plague means my niece, to take the death of her brother thus? I am sure care's an enemy to life. Mar. By my troth, Sir Toby, you must come in earlier o' nights: your cousin, my lady, takes Vio. There is a fair behaviour in thee, captain; great exceptions to your ill hours. 17. A noble duke, in nature as in name. The Orsini family is one of the oldest and most illustrious in Italy; boasting several popes, cardinals, and other distinguished personages among its members. 18. I have heard my father name him: he was a bachelor then. Here is one of Shakespeare's subtle touches in dramatic art. By the mention of Viola's father having spoken of the Duke, we are led to see the source of her interest in Orsino; and by the word "bachelor" we are made to see the peculiar nature of that interest. By this delicate indication of an already existing inclination on the part of the heroine for the hero of the play, the circumstance of her at once falling so deeply in love with him, on coming to know him personally, is most naturally and beautifully introduced. 19. A virtuous maid. These words suffice to show that John Manningham's description of Olivia as a widdowe" is a mistake; probably arising from her mourning habit worn for her brother, which misled the Temple student. See Note 1 of this Act. It is pleasant to have Shakespeare's own testimony to bring forward against those who strangely give credence to that of John Manningham on this point. One would think that in every eloquent, though unstated, trace of Olivia's condition throughout the play there is sufficient proof of her being no widow lady; but for those who cannot read poeticallyveiled indications, it is satisfactory to have the plain evidence of the poet's own words, carrying conviction beyond mistake. 20. The company and sight. The Folio prints 'the sight and company.' Hanmer made the transposition. 21. Made mine own occasion mellow. Johnson interprets this passage thus-'I wish I might not be made public to the world, with regard to the state of my birth and fortune, till I have gained a ripe-opportunity for my design;' after which, he has a sneering remark upon Viola's having 'formed a very deep design to supplant the lady whom the Duke courts.' But, to our minds, the passage means-'Oh, that I might not be presented to the world, till I had myself prepared the occasion for declaring what my condition really is.' It rather conveys the idea of the shrinking diffidence with which a young and well-born lady dreads encountering publicity until she can do so under suitable protection, than the designing character with which Johnson invests Viola's speech. In "Love's Labour's Lost" (Act iv., sc. 2) Shakespeare uses the expression, "delivered upon the mellowing of occasion;" which helps to illustrate the meaning of the similar words here. 22. I'll serve this duke. Here Johnson has another sneer at this lovely character, saying "Viola is an excellent schemer, never at a loss; if she cannot serve the lady, she will serve the Duke." It seems as if some natures were incapable of appreciating the singleness of other natures. What more natural than that Viola, thrown unprotected and alone upon a strange shore, should seek shelter with one whom she had heard her father name, and one whose position as governor of the place promised safe, honourable, and even sanctioned refuge? The "intent" she alludes to is her intention of remaining in obscurity until she can suitably declare herself; and this very declaration of her identity she "commits" to "time," with the same spirit of trust in time and its auspicious influence that Shakespeare elsewhere advocates, and places in the mouth of other of his lovely female characters. See Note 77, Act iv., "All's Well." 23. Allow. Here used as Shakespeare uses the word 'approve; including the senses of 'proof' and 'approval.' See Note 80, Act iii., "All's Well," and Note 51, Act ii., "Merry Wives." 24. Wit. Here used for intelligence, sagacity. Sir To. Why, let her except before excepted. Mar. Ay, but you must confine yourself within the modest limits of order. Sir To. Confine! I'll confine myself no finer than I am: these clothes are good enough to drink in; and so be these boots, too,-an they be not, let them hang themselves in their own straps. Mar. That quaffing and drinking will undo you: I heard my lady talk of it yesterday; and of a foolish knight that you brought in one night here to be her wooer. Sir To. Who, Sir Andrew Aguecheek? Sir To. He's as tall 25 a man as any's in Illyria. Sir To. Why, he has three thousand ducats a year. Mar. Ay, but he'll have but a year in all these ducats: he's a very fool and a prodigal. Sir To. Fie, that you'll say so! he plays o' the viol-de-gamboys,26 and speaks three or four languages 27 word for word without book, and hath all the good gifts of nature. Mar. He hath, indeed,—almost natural: 28 for, besides that he's a fool, he's a great quarreller; and, but that he hath the gift of a coward to allay the gust 29 he hath in quarrelling, 'tis thought among the prudent he would quickly have the gift of a grave. Sir To. By this hand, they are scoundrels and substractors 30 that say so of him. Who are they? Mar. They that add, moreover, he's drunk nightly in your company. Sir To. With drinking healths to my niece: I'll drink to her as long as there is a passage in my 25. Tall. Stout,' 'able,' 'bold,' 'valorous.' Sir Toby not only has a hit at Sir Andrew's small amount of courage, but a gird at his insignificant appearance. See Note 60, Act i., "Merry Wives." 26. The viol-de-gamboys. A corruption of the 'viol-de gamba,' a then fashionable instrument, played, as its name indicates (Italian, gamba, leg), in the same way as the more modernly known violoncello. 27. Speaks three or four languages. Sir Toby is continuing his half ironical, half tipsy description of Sir Andrew's accom plishments; for soon after we hear from the "foolish knight" himself that he wishes he "had bestowed that time in the tongues that" he has "in fencing," &c. 28. Almost natural. Some have altered this, the reading of the Folio, to "all most natural." But Shakespeare often uses adjectives for adverbs, and by doing so in the present case, he gives to Maria's sentence the quibbling effect she wishes to convey, meaning, almost naturally,' or, 'by nature,' and 'almost like a natural, or born idiot.' 29. Gust. Appetite, relish, inclination; Latin, gustus, taste. 30. Substractors. Sir Toby's bousy blunder for 'detractors.' 31. Coystril. A base fellow, a flincher, a poltroon. The word has been by some authorities derived from 'kestrel,' a degenerate hawk; and by others from 'costerel,' explained by Holinshed to mean the bearers of the arms of barons and knights. These were inferior grooms, generally peasant-lads; Sir And. Good Mistress Accost, I desire better acquaintance. Mar. My name is Mary, sir. Sir And. Good Mistress Mary Accost, Sir To. You mistake, knight: accost is, front her, woo her, assail her. Sir And. By my troth, I would not undertake her in this company. Is that the meaning of accost? Mar. Fare you well, gentlemen. Sir To. An thou let part so, Sir Andrew, would thou mightst never draw sword again. Sir And. An you part so, mistress, I would 1 might never draw sword again. Fair lady, do you think you have fools in hand? Mar. Sir, I have not you by the hand. Sir And. Marry, but you shall have; and here's my hand. Mar. Now, sir, thought is free: I pray you, bring your hand to the buttery-bar,35 and let it drink. and the name by which they were known is traced to the lowLatin word coterellus, a peasant. 32. Parish-top. Formerly there was a large top kept in every English village, for affording the means of exercise and warmth to the peasantry in cold weather, and of amusement generally. 33 Castiliano vulgo. We take this to be a hint of Sir Toby to Maria to restrain her tongue on the approach of Sir Andrew; the Spaniards, and especially the Castilians, being noted for a reserved and taciturn manner; as if he had said, 'Be as reticent as a Castilian now that one of the common herd is coming.' Florio has "Vulgo, as Volgo;" and the latter word he explains, "the common sort of people, the vulgar multitude, the maniheaded-monster multitude." Possibly, however, "vulgo" may be here used, in Sir Toby's lax way of speaking, for a vulgate or jargon; meaning, 'Now adopt a Castilian style of staid talk,' fit for one of the uninitiated to listen to, and calculated to mystify Sir Andrew. 34 Fair shrew. This address of Sir Andrew, in itself, serves to indicate the mischievous look that sparkles in every feature of Maria's roguish face; and that makes him instinctively dread the smart bout of waggery with which she immediately obfuscates him. 35. The buttery-bar. The "buttery" was the place where eatables and drinkables were kept; and the " buttery-bar" was the portion of the room where they were served out. See Note 30, Induction, "Taming of the Shrew." Sir And. Wherefore, sweetheart? what's your metaphor ? Mar. It's dry, sir.36 Sir And. Why, I think so: I am not such an ass but I can keep my hand dry. But what's your jest? Mar. A dry jest, sir. Sir And. Are you full of them ? Mar. Ay, sir, I have them at my fingers' ends: marry, now I let go your hand, I am barren. [Exit. Sir To. Oh, knight, thou lackest a cup of canary: 37 when did I see thee so put down? Sir And. Never in your life, I think; unless you see canary put me down. Methinks sometimes I have no more wit than a Christian, or an ordinary man has: but I am a great eater of beef,39 and I believe that does harm to my wit. Sir To. No question. Sir And. An I thought that, I'd forswear it. I'll ride home to-morrow, Sir Toby. Sir To. Pourquoi,39 my dear knight? Sir And. What is pourquoi? do or not do? I would I had bestowed that time in the tongues that I have in fencing, dancing, and bear-baiting: oh, had I but followed the arts! Sir To. Then hadst thou had an excellent head of hair. Sir And. Why, would that have mended my hair? Sir And. But it becomes me well enough, does 't not? Sir To. Excellent; it hangs like flax on a distaff; and I hope to see a housewife take thee and spin it off. Sir And. Faith, I'll home to-morrow, Sir Toby: your niece will not be seen; or if she be, it's four to one she'll none of me: the count himself here hard by woos her. Sir To. She'll none o' the count: she'll not match above her degree, neither in estate, years, nor wit; I have heard her swear it. Tut, there's life in 't, man. Sir And. I'll stay a month longer. I am a fellow o' the strangest mind i' the world; I delight in masques and revels sometimes altogether. Sir To. Art thou good at these kickshaws, knight? Sir And. As any man in Illyria, whatsoever he be, under the degree of my betters; and yet I will not compare with an old man.42 Sir To. What is thy excellence in a galliard,13 knight? Sir And. Sir To. Sir And. Faith, I can cut a caper." And I can cut the mutton to 't. And I think I have the back-trick 45 simply as strong as any man in Illyria. Sir To. Wherefore are these things hid? wherefore have these gifts a curtain before 'em? are Sir To. Past question; for thou seest it will not they like to take dust, like Mistress Mall's piccurl by nature: 40 36. It's dry, sir. Maria plays on the word "dry," in its sense of thirsty; and in its reference to the belief that a dry hand betokened debility. 37. Canary. The wine so called. See Note 14, Act iii., "Merry Wives." 38. A great eater of beef. Shakespeare elsewhere has allusion to the injurious effect of beef on the intellect; and it is curious to speculate on the point as to whether, after a meal of that meat, he felt his own brain the heavier; whether it was a prejudice of that time; or whether, as we think very likely, it was (in allusion to the popular prejudice) a mere ironical banter of Sir Toby's. His "No question" here, as confirmed by his "Past question" in reply to the theory of art's effect upon Sir Andrew's hair, makes this the most probable. 37. Pourquoi. As we hope to have among the readers of our Notes many students so young in age and knowledge as to have hitherto bestowed no more "time in the tongues" than Sir Andrew, we give the meaning of the French word pourquoi: literally, for what;' freely, 'why,' 'wherefore.' 40. Curl by nature. Theobald's felicitous emendation of the Folio's misprint here, 'Coole my nature.' 41. I'll stay a month longer. The abrupt way in which Sir Andrew alters his determination has a most comic effect; appearing to be totally without ground for change: but Shakespeare has allowed us to get a glimpse of the flabby gentleman's motive through his confused speech, by making him allude to masques and revels;" which he evidently intended to resort to as a means of displaying his devotion to Olivia. 44 42. Yet I will not compare with an old man. This has been variously explained; but we take its signification to be, that the knight by the term "an old man" means 'a man of experience,' just as he has before deferred to "his betters;" while the use of ture 246 why dost thou not go to church in a gal the word "old" gives precisely that absurd effect of refraining from competing in dancing, fencing, &c., with exactly the antagonist incapacitated by age, over whom even Sir Andrew might hope to prove his superiority. 43. A galliard. A lively Spanish dance, named from the Spanish word gallardo, gay, sprightly. 44. Can cut a caper. That this was part of the "excellence" in dancing a "galliard" is proved by a passage from Florio's Second Frutes;" where we find: "He danceth verie well, both galiards and pauins; hee vaultes most nimblie, and capers verie loftilie." 45. The back-trick. Here Sir Andrew is making a discursive allusion to his fencing-feats, meaning by "back-trick" a backhanded stroke with the sword; and not keeping to the discussion of his dancing powers, meaning by "back-trick" some retiring step, some elegance of graceful retreat. The word "strong" makes for the former interpretation; and, moreover, a sentence (in the same page of Florio's "Second Frutes" as the one from which we have just quoted) describing a skilful master of fence, illustrates the expression in the text: "He will hit any man, bee it with a thrust or stoccada, with an imbroccada or a charging blowe, with a right or reuerse blowe, be it with the edge, with the back, or with the flat, even as it liketh him." We have before mentioned our belief that this was a book well known to Shakespeare; and here it seems as if he must have been lately reading the actual page in question. See Note 42, Act ii., "Midsummer Night's Dream." 46. Mistress Mall's picture. An allusion to a notorious woman named Mary Frith, familiarly known as Mall Cutpurse. Sir Toby jocosely refers to the practice of hanging curtains over pictures that were of extra value, to preserve them the more carefully; thus slily making Sir Andrew's "gifts" about as |