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P. 227. 1. 4. Hollow your name to the reverberate bills,] I have corrected, reverberant,
THEOB.* P. 228. 1. 12. Mine eye, &c.] I believe the meaning is ; I am not mistress of my own actions, I am afraid that my eyes betray me, and Hatter the youth without my consent, with discoveries of love.
JOHNS. P. ?. 229. 1. 2. To express myseif.] That is, 10 reveal myself.
Johns. L. 13. With such eftimable wonder.] These words Dr. Warburton calls “ an interpolation of the players,” but what did the players gain by it? they are sometimes guilty of a joke without the concurrence of the poet, but they never lengthen a speech only to make it longer. Shakespeare often confounds the active and passive adjectives. Estimable wonder is esteeming winder, or wonder and efteem, The meaning is, that he could not venture to think so highly as others of his lifter.
JOHNS. P. 230, l. 17. Her eyes bad lost ber tongue.] This is nonfense: we thould read
had CROST her tongue ; Alluding to the notion of the fascination of the eyes; the effects of which were called craffing.
WARB. Ibid.] That the fascination of the eyes was called croffing ought to have been proved. Bur however that be, the present rëading has not only lense but beauty. We fay a man ls ses his company when they go one way, and he goes another. So Olivia's tongue lof her eyes; her tongue was talking of the Duke and her eyes gazing on his messenger.
JOHNS. L. 26. How easy is it,
for the proper false In women's waxen bearts to see their firms! ] This is obscure. The meaning is, “ how ealy is disguise to women;" how eally does their own falfhood, contained in their waxen changeable bearts, enable them to assume deceitfól appear
The two next lines are perhaps transposed, and fhould be read thus :
For such as we are made, if such we be,
Alas, our frailty is the cause not we. JOHNS. Ibid. Por fucb as we are made, if fucb we be] Read, « For fuch as we are made of, such we be.” Obs.and CON), *
P.231, 1. 18. libink, it ratber consists of caring and drink
ing.] A redicule on the medical theory of that time, which supposed health to consist in the just temperament and balance of these elements in the human frame. WARB.
P.231, 1.25. By my trotb, the fool bas an excellent breaft. ] I have been advised to read, brearb here. But the text is, certainly, right without any alteration. The allusion is not to the clown having a white skin, but a good power in finging. It was a phrale in vogue, in our author's time. In a Spanish vocabulary printed in Queen Elizabeth's reign, Aquel tiene linda boz is thus expounded; He has a good breast; i. e, as we now say, good lungs, to hold out singing. So Ben. Jonson, in his masque of Gipfies metamorpbored :
An excellent song, and a sweet songster, and would have done rarely in a cage, with a dish of water and hempseed; fine breast of his own! And Beaumont and Fletcher. in their Pilgrim;
Pray you, stay a little: Let's hear him sing, h'as a fine breaft.
THEOB. Ibid.) By my troth the focl bas an excellent breast ] That is, he has an exellent voice. It was proposed to Theobald, "to read breutb for breaft. Theobald's reasons for retaining
breast, may be corroborated from the following passage in 'the statutes given to Stoke College by archbishop Parker,
1535 : “ of which said queristers, after their breasts are changed, we will, the most apt be helpen with exhibition of forty shillings, &c.” Strype's life of Parker, p. 9. That is, the boys when their voices were changed, or broke, and consequently rendered unserviceable to the choir, were to be removed to the university.
WARTON. P. 232, l. 4. I sene thee fixpence for thy Lemon, bad ft 11.] But the clown was neither Pantier, nor Butler. The Poet's word was certainly mistaken by the ignorance of the Printer.
I have restored, leman, i. e. I sent thee sixpence to spend on thy mistress.
THEOB. L. 5. I did impeticos, &c.] This, Sir Thomas Hanmer tells us, is the fame with “ impocket thy gratuity.” He is Undoubtedly right; but we must read, did impeticoat oby gratuity. The fools were kept in long coats, to which the allaliun is made. There is yet much in this dialogue which I do not understand.
*L. 28. In delay there lies no plexry: This is a proverbial saying corrupted; and should be read thus,
In DECAY tbere lies no plenty A reproof of avarice which stores up perishable fruits until they decay. To these fruits the Poet, honourously, compares youth or virginity ; which, he says, is a “ stuff will not endure."
WARBO Ibid.] I believe delay is right.
JOHNS. L. 29. Tben come kiss me, sweet and twenty,] This line is obscure; we might read,
Come, a kiss then, sweet, and twenty. Yet I know not whether the present reading be not right, for in some counties " sweet and twenty," whatever be the meaning, is a phrase of endearment.
JOHN 6. P. 233, l. 5. Make the welkin dance.] That is, drink until the sky seems to turn round.
JOHNS. L. 6. draw three souls out of one weaver?] Our author represents weavers as much given to harmony in his time. I have shewn the cause of it elsewhere. This expreffion of tbe power of musick, is familiar with our Author, " Much ado about nothing. Now it is soul ravished. Is it not strange that Sheep's guts should hale souls out of men's bodies?"-Why, he says, i bree fouls, is because he is speak
ing of a catch in tbree parts. And the peripatetic philofophy, then in vogue, very liberally gave every man three fouls. The vegetative or plastic, the animal and the rational, To this, too, Jonson alludes in his Poetalter ; “ What, will I turn shark upon my friends ? or my friends friends ? I scorn it witb my thrte sculs." By the mention of these three, therefore, we may suppose it was Shakespeare's purpose, to hint to us those surprising effects of musick, which the antients speak of. When they tell us of Amphion, who moved stones and trees; Orpheus and Arion, who tamed Savage beasts, and Timotheus, who governed, as he pleased, the “ paffions of his human auditors.” Só noble an observation has our Author conveyed in the ribaldry of this buffoon character. L. 17. This catch is loft.
JOHNSL. 22. Peg-a-Ramsey I do not understand. Tilly valley was an interjection of contempt, which Sir Thomas-More's
lady is recorded to have had very often in her mouth, Johns.
Ibid. Tilley valley is an expresion of contempt of much the same import as our modern Fiddle faddle. This, with the word Lady which is three times repeated, and ought to bę pronounced with a like scornful tone, makes no part of the singing, as Mr. Warburton, following the latter editors, by printing them in italics, misleads the reader to apprehend.
Rev.* P. 234. coziers carçbes) Corsiers. Rustick, clownish.
W ARB.* *Ibid.] Cozier, i. e. cobler, is right. Its etymology is from cordwein-r, which was first abbreviated into cordier, and then by degrees, in virtue of the pronounciation in the western part of the kingdom came to be cozier. REVIS*. P. 234, 1. 5.
A cozier is a tailor, from coufer, to sew. French.
Johns. P. 235, l. 3. Rub your chain with crums.] I suppose it Thould be read, “ rub your ebin with crums, alluding to what had been said before that. Malvolio was only a ile. ward, and consequently dined after his lady. John.
Ibid.) The steward might in these days wear a chain as a badge of office, or mark of dignity; and the method of cleaning a chain, or any gilt plate, is by rubbing it with
STEEVENS. L. 7. Rule is, method of life, so misi ule is tumult and riot.
JOHNS. L. 20. Polijs us.] That is, “ inform us, tell us,” make us matters of the matter.
JOHNS. L. 28. an affectioned afs.] Aff&tioned, for full of affec. tion,
WARB. Ibid.] Affe Elioned would seem from the context to mean, full of affectation.
Anon.* 1. 14. RecolleEted, studied.
Wass. Ibid.) I rather think that recclleeted signifies more nearly to its primitive sense, recalled, repeated, and alludes to the practice of composers who often prolong the long by repetitions.
JOANS. L. 27. in all motions elfe.] The fol:o reads notions, which is sight.
WARB.* Ibid.) Both the folios read motions,
Can.* P. 238, l. 3. It gives a viry ecto to the feat
Where love is thron'd.) We should read, FROM the seat: 1. e. it reaches the throne of love, and reverbe. rates thence,
WARB.* Ibid.] That is, it is so consonant to the emotions of the heart, that they echo it back again.
L. 9. The word favour ambiguously used. Johns.
L. 19. Loft and worn.) Though lojt and worn may mean lost and worn out, yet loft and won being, I think, better, these two words coming usually and naturally together, and the alteration being very flight, I would so read in this place with Sir Thomas Hanmer.
Johns. P. 239, d. 1. Free is, perhaps, vacant, uningaged, easy in mirid.
Johns. L. 2 Silly footh.] It is plain, simple truth. Johns. L 3. And dallies with tbe inno ence of love,] Dallies has
We should read, TALLIES, i. e, agrees with; is of a piece with.
WARB. Ibid.] The Duke is speaking of a song. It dallies, i.e. it sports and plays innocently with a love subject, as they did in old times. But Mr. Warburton, who is here out of his element, and on a subject not dreamed of in his philofophy, would have the Duke speak more like a baker or milkman, than a lover.
CAN.* L. 4, The old age is the ages post, the tiines of fimplicity
JOHNS L. 13. My part of death no one so true
Did pare it.] Though Dea!b is a part in which every one acts his share, yet of all these actors no one is so true as I.
JOHNS P. 240, 1. 2. a very opal! ] A precious stone of almost all colours.
РОР Е. L. 3. tbat their busin:ss might be every thing, and their intent EVERY wbere;] Both the preservation of the antithesis, and the recovery of the sense, require we should read, "and their intent no where. Because a man who suffers himself to run with every wind, and so makes his business every where, cannot be laid to have any intent; for that word fignifies a determination of the mind to something. Besides, the conclusion of “making a good voyage" out of nothing, directs to this emendation,