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P. 386. (47)

"and the foolish chroniclers of that age found it was-Hero of Sestos."

Here Hanmer reads "coroners" instead of "chroniclers" (and so Mr. Collier's

Ms. Corrector).

P. 388. (45)

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“O, that woman that cannot make her fault her husband's occasion," &c.

"Sir Thomas Hanmer," says Mr. Collier, "made a tolerable guess, when he altered 'occasion' to 'accusation.' It is accusing' in the corrected

folio, 1632; no doubt, Shakespeare's word."-Hanmer's “guess" is by far the better of the two.

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Much discussion has arisen whether these words are a portion of the song, or of the stage-direction. It is a question on which I do not feel myself competent to speak with any positiveness.

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The folio has "Died in this bloud," &c.; and so Malone, Caldecott, and Mr. Knight! (Only hear Malone-"The editor of the second folio changed 'this blood' unnecessarily to 'his blood.' Oliver points to the handkerchief, when he presents it; and Rosalind could not doubt whose blood it was after the account that had been before given"!)

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The more recent editors give these words thus, "Cousin - Ganymede !”— Johnson observing that "Celia, in her first fright, forgets Rosalind's character and disguise, and calls out cousin, then recollects herself, and says Ganymede." But "cousin" is used here merely as a term of familiar address.

P. 394. (53)

“Ah, sirrah, a body would think this was well counterfeited!"

Here Pope altered "sirrah" to "sir:" but " sirrah" was sometimes nothing more than a sort of playful familiar address. In The First Part of Henry IV. act i. sc. 2, Poins says to the Prince, "Sirrah, I have cases of buckram for the nonce," &c.: compare too Romeo and Juliet, act i. sc. 5,—

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Ah, sirrah, this unlook'd-for sport comes well."

Ah, sirrah, by my fay, it waxes late."

VOL. II.

EE

(Caldecott replaced “sirra” (the spelling of the original) in the text, with the following note, which could not well be surpassed in absurdity: "Yet, scarce more than half in possession of herself, in her flutter and tremulous articulation, she [Rosalind] adds to one word the first letter, or article, of the succeeding one.")

P. 396. (54)

"SCENE II. Another part of the forest."

Here, perhaps, the scene ought to be marked-“ Another part of the forest. Before a cottage."

P. 397. (55)

"how I counterfeited to swoon," &c.

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Here Caldecott and Mr. Knight print to sound," &c., because such is the spelling of the folio: but only a little before, p. 394, the folio has, "Many will swoon when they do look on bloud."

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All humbleness, all patience, and impatience,
All purity, all trial, all observance," &c.

In the folio both the first and the third of these lines end with the word “obseruance." Malone proposed altering "observance" to "obedience" in the third line; Mr. Collier's Ms. Corrector inserts that alteration in the first,— which I think preferable.

P. 399. (57)

"Ros. Why do you speak too,- Why blame you me to love you?” This is usually altered to "Who do you speak to," &c.: but there is certainly no absolute necessity for the change.

P. 400. (58) "In the spring time, the only pretty ring time," &c.

The folio has ". · pretty rang time," &c.: but see the song (printed from a Ms. in the Advocates' Library, Edinburgh) in Chappell's Coll. of Nat. Engl. Airs, ii. 130 (indeed, Steevens had conjectured that the true reading was "ring"). The same Ms. shows (and it was evident enough before) that the stanzas are transposed in the folio, which gives as the second stanza what ought to be the last.

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In this repetition, the folio has "In spring time," &c.: but see the first stanza (from which Mr. Knight throws out "the," because it is not found in the above-mentioned Ms.).

P. 401. (60) "Yet the note was very untuneable."

Here Theobald speciously alters "untuneable" to "untimeable" (and so Mr. Collier's Ms. Corrector).

P. 401. (61) This scene perhaps ought to be marked,—" Another part of the forest. Before a cottage."

"SCENE IV. Another part of the forest."

P. 401. (*) “As those that fear they hope, and know they fear.”

Mr. Collier calls this "a misprinted line," and gives us a reading by the Ms. Corrector, which is quite as bad as any of the various alterations proposed by the commentators. I believe that the line now stands as Shakespeare wrote it.

P. 401. (63)

"Patience once more, whiles our compact is urg'd."

Mr. Collier's Ms. Corrector alters "urg'd" to "heard,"-unnecessarily, not to say foolishly.

P. 401. (1)

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Keep you your word, Phebe," &c.

Mr. Collier observes ad l. "Malone, following Pope, omits you, and contends that this colloquial mode of speaking is a misprint, although just above we have had 'Keep you your word, O duke,' &c.,"'-a rather unfortunate defence of "you;" for just below we have "Keep your word, Silvius," &c.

THE TAMING OF THE SHREW.

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