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than, that Apollo's lute is ftrung with gilded wire ! How much more sublime, the imagination of our poet, who represents that instrument as strung with the sun beams, which in poetry are called Apollo's hair ?

Rev1. L. 7. And when love speaks the voice of all the gods,

Make, beatu'n drowsy witbebe barmony! This nonsense we should read and point thus,

And when love speaks the voice of all the gods,

Mark heav'n drowiy with the harmony. i.e. In the voice of love alone is included the voice of all the gods. Aliuding to the ancient theogony, that love was the parent and support of all the gods. Hence as Suidas tells us, Palcephatus wrote a poem called, 'Apgodions as "Egwr@ parvo sg hózou. “ The voice and speech of Venus and Love," which appears to have been a kind of cosmogony, the harniony of which is so great, that it calms and allays all kinds of disorders; alluding again to the ancient use of music, which was to compose monarchs, when, by reason of the cares of empire, they used to pass whole nights in restless inquietude.

loid.] The natural correction is so obvious, that it was scarcc poflible to miss it,

And when love speaks, the voice of all the gods,

Makes heaven drowsy with the harmory. That is, whenever love speaks, all the gods join their voices with his in harmonious concert.

Revi, and Cap. L. 20. a word, THAT LOVES ALL ME* ;] We should read,

A word ail' WOMEN love. the following line,

Or for men's sake (the author of obese women ;-) Which refers to this reading, puts it out of all question.

Thid.] Mr Warburton's emendation is a very bold one, but had he attended to the artificial structure of these lines, is which the word that terminates every line, is prefixed to the word sake, in that immediately following, he could foarce have missed the true reading, which is,

Or for love's fake, (a word that joyes all mea)

WARB

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The expression in the next line, these women, hath a refe-
rence to the line next but one preceding these verses,

Then fools you were, these women to forswear. Revi.*
Ibid.] Perhaps we might read thus, transposing the lines,

Or for love's fake, a word that loves all men;
For women’s, sake, by whom we men are men;

Or for men's fake, the authors of these women.
The antithesis of “ a word that all men love,” and “&
word which loves all men,” though in itself worth little,
has much of the spirit of this play.

JOHNS. P. 59. L. 14. - sown cockle reap'd no corn ;] This proverbial exprefsion intimates, that beginning with perjury, they can expect to reap nothing but falshood. The following lines lead us to this sense,

WARB. Ibid.] i. e. If we don't take the proper measures for winning these ladies, we shall never atchieve them. Revi,* Act V. Scene 1. Here Scene II. of Act IV. begins in

CAP. L. 17. Here Mr. Theobald ends the third act. JOHNS

L. reasons at dinner have been, &c.] I know not well what degree of respect Shakespeare intends to obtain for this vicar, but he has here put into his mouth a finished representation of colloquial excellence. It is very difficult to add any thing to this character of the schoolmaster's tabletalk, and perhaps all the precepts of Castiglione will scarcely be found to comprehend a rule for conversation so justly delineated, so widely dilated, and so nicely limited.

It may be proper just to note, that reason here, and in many other places, signifies discourse, and that audacious is used in a good sense for spirited, animated, confident. Opinion is the fame with obftinacy or opiniatreté.

Johns.
P. 60. L. 3. He is too piqued.] To have the beard piqued or
Thorn so as to end in a point, was in our author's time a
mark of a traveller affecting foreign fashions : fo says the
Baltard in K. John.

I catechise
My piqued man of countries.

JOHNS.
Ibid.] Piqued, in this place seems to mean, Siff, Karched,
or formal. If the reader will look into the notes on king
John, he will find that piqued in the line quoted by Dr.

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Johnson, should probably be written picked. ANON.

L. 14. This is abominable, &c.] He has here well imitated the language of the most redoubtable pedants of that time. On such fort of occafions, Joseph Scaliger used to break out,

“ Abominor, execror, Alinitas mera eft, impietas, &c.” and calls his adversary, “ Lutum ftercore maceratum, Dæmoniacum retrimentum inscitiæ, Sterquilinium, Stercus Diaboli, Scarabæum, larvam, Pecus poftremum bestiarum, intame propudium, xóbaguea"

WARB. L. 15. In former editions : It insinuateth me of infamy : Ne intelligis, Domine, to make frantick, lunatick?

Narb. Laus Deo, bere intelligo.

Hol. Bome, boon for boon prescian; a little scratch, it will serve.). This play is certainly none of the best in itielf, but the editors have made it worse. Why should infamy be explained by making frantick, lunatick It is plain and obvious that the poet intended, the pedant should coin an urcouth affected word here, insanie, from insaria of the Latines. Then, what a piece of unintelligible jargon have these learned criticks given us for Latin? I think, I may venture to affirm, I have restored the passage to its true purity.

Natb. Laus Déon, bone, intelligo. The curate addreffing with complaisance his brother pedant, jays, bovie,. to him, as we frequently in Terence find bone vir; but the pecant thinking, he had miltaken the adverb, thus descarts on it.

“ Bone bone for bene. Priscian, a little scratched : it will serve." Alluding to the common phrate, Diminuis Prifciani cafut, applied to such as speak false Latin.

THEOB and Cap. Thid.] It infinuatetit me of INFAMY:] There is no need to make the pedant worle th-a Shakespeare made him ; who, without doubt, wrote INSANITY.

Ibid.] Why might not Holofernes take the liberty Dr. W. so often does, of coining a word ?

CANONS. Ibid.] There seems yet something wanting to the integrity. of this paffage, which Mr. Theobald has in the most corrupt and difficult places very happily restored. For “ pe intelii. gis Domine, to make frantick, lunatick. I read (nonne,

WARE.

Oh, you

intelligis Domine ?) to be mad, frantick, lunatick. Jonns.

P.61. L. 11. In former editions: The last of the five vowels, if you repeat ebem ; or tbe fifth if I:

Hol I will repeat tbem, a, e, 1—

Moth. Tbe sheep :-be o: ber two concludes it out.] is not the laft, and the fif:b, the same vowels ? Though my Correction restores but a poor Conundrum, yet if it restores the poet's meaning, it is the Duty of an editor to trace him in his lowest conceits. By, O, U, Mətb would mean i. e. You are the sheep still, either way, no matter which of us repeats them.

TнEOB. . L. 24. I will wbip about your Infamy unum cita :] Here again all the editions give us Jargon initead of Latin. But Mtb would certainly. mean circum circa: i. e. about and about : though it may be designed, he should mistake the terms.

THEOB. P. 62. L. 13. —well cull’d, cbofe.

CAP.* L. 17. -beseech thee, refrain, against the old editions.

CAP.* L.,23. The author has before called the beard, valour's excrement in the Merchant of Venice.

JOHNS. P. 64. Scene Ill. Here begins Act V. in

CAP.* as much love in rhime, As would be cram'd up in a sheet of paper, Writ on both sides the leaf, margent and all.] I dare not affirm this to be an imitation, but it carries a mighty resemblance of a passage in the beginning of Juvenal's first satire.

- summi plenâ jam margine libri Scriptus, & in tergo, nec dum finitus Orestes. THEOB. P.:65. L. 4. for poft care, is fill past cure.] The transposition which I have made in the two words, care and cure, is by the direction of the ingenious Dr. Thiriby.

THEO B.* L-20. 'Ware pencils.] The former editions read, “ were pencil.” Sir T. Hanmer here rightly restored 'ware pencils. Rosaline, a black beauty, reproacheth the fair Catharine for painting

JOHNS. 1.. 23. Pox of that jest, and I beforew all prews.] In former copies, this line is given to the Princess; but as

L. 10.

she has behaved with great decency all along, there is no reason why she should start all at once into this coarse dialect. Rosaline and Catharine are rallying one another without reserve ; and to Catharine this first line certainly belonged, and therefore I have ventured once more to put her in posses. fion of it.

THEOB. L. 27, Yes Madam, tbar be did; and fent, &c. intertions by

Cap.* P. 66. L. 13. So pertaunt like would I o'erfway bis fate.

That be should be my fool, and I bis Fote.] If the editors are acquainted with this word, and can account for the meaning of it, their industry has been more successful than mine, for I can no where trace it. So pedant like, as I have ventured to replace in the text, makes very good sense, i. e. in such a lordly, controlling manner would I bear myself over him, &c. What Biroa fays of a pedant, towards the conclusion of the 2d. Act, countenances this conjecture.

A domineering pedant o'er the boy,

Than whom no mortal more magnificent. Theo B.* Ibid.] In old farces, to shew the inevitable approaches of death and destiny, the fool of the farce is made to employ all his stratagems to avoid death or fate : which very stratagems as they are ordered, bring the fool at every turn, into the very jaws of fate. To this, Shakespear alludes again in “Measure for Measure.”

-merely thou art death's fool;
For him thou labourest by thy flight to shun,

And yet run towards him still It is plain from all this that the nonsense of pertaunt.like, Thould be read portent-like, i. e. It would be his fate or destiny, and like a portent hang over, and influence his fortunes. For portents were not only thought to forebode, but to influence. So the Latins called a person destined to bring mischief, “ fatale portentum.”

WAIB. Ibid.] So pageani-like, against the old copies. Cap.*

L. 15. These are observations worthy of a man who has surveyed human nature with the closest attention. Johns.

P. 67. L. 3. Saint Dennis, to Sl. Cupid.) The princess of

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