like fruit, out of which came as though it were a lytylle Lomb,' by telling his informant of the barnacles. 245. With foreheads villanous low. a deformity. See Two Gentlemen of Verona, iv. 4. 198, 'Ay, but her forehead's low, and mine's as high.'

And Antony and Cleopatra, iii. 3. 35,

A low forehead was regarded as

And her forehead

As low as she would wish it.'

On the other hand, a broad or high forehead was esteemed a good feature in a woman's face. Chaucer, in his description of the Prioress (Prologue to the Canterbury Tales, 154, 155), says,

'But sikurly sche hadde a fair foreheed,

It was almost a spanne brood, I trowe.'

And Spenser (Fairy Queen, ii. 3. 24), of Belphoebe,
'Her yvorie forhead, full of bountie brave,
Like a broad table did it selfe dispred.'

246. lay to, apply. See Ps. cxix. 126 (Prayer-book), 'It is time for thee, Lord, to lay to thine hand.'

248. go to, an expression of impatience. See Hamlet, i. 3. 112, 'Ay, fashion you may call it; go to, go to!'

256. aged cramps. See i. 2. 369.

257. pard, panther. See As You Like It, ii. 7. 150,

'Full of strange oaths, and bearded like the pard.' Naturalists are not in accord as to the distinction between the panther and the leopard.

Ib. cat o' mountain. Topsell (History of Four-footed Beasts), p. 448, says, 'The greatest therefore they call Panthers, as Bellunensis writeth. The second they call Pardals, and the third, least of all, they call Leopards, which for the same cause in England is called a Cat of the Mountain.' Minsheu (Span. Dict.) gives, ' Gato montes. A cat of mountaine, a wilde cat.' But what is now known as the wild cat is rather striped than spotted. Florio (New Worlde of Words) says, 'Onza, an ounce weight. Also a beast called called an ounce or cat of mountaine.' It was probably one of the smaller varieties of the leopard, and the name was apparently not strictly confined to one animal. In The Merry Wives of Windsor, ii. 2. 27, Falstaff reproaches Pistol with his 'cat-amountain looks.'

258. soundly. See ii. 2. 73.

259. Lies. Rowe was the first to correct this to 'Lie.' But, though undoubtedly an inaccuracy, there is reason to believe that Shakespeare may have written it, either on the ground given in the note on i. 1. 17, or because of the immediately preceding singular noun 'hour.' See note on Hamlet, i. 2. 38.

ACT V.

Scene I.

2. crack not, are without a flaw.

3. Goes upright with his carriage, bends not under the burden he has to bear.

4. On the sixth hour. See Hamlet, i. 1. 6,

'You come most carefully upon your hour.'

That is, as the hour is about to strike.

5. See i. 2. 240.

7. How fares. See note on i. I. 15.

8. gave in charge, commanded. See 1 Henry VI, ii. 3. 1,

'Porter, remember what I gave in charge.'

And I Timothy v. 7, ' And these things give in charge, that they may be blameless.'

10. line-grove. See iv. 1. 193.

Ib. weather-fends, protects from the weather or storm.

Jamieson

(Scottish Dict.) gives 'fend' in the sense of defend, or ward off, quoting from Blind Harry's Wallace, iv. 615,

'To fende his men with his deyr worthi hand.' 'Fend' for 'defend' also occurs in Beaumont and Fletcher, The Humorous Lieutenant, v. 4,

'And such a coil there is,

Such fending and such proving.'

11. budge, from French bouger, which Cotgrave explains, 'to stirre, budge, flit, remoue, part from.'

Ib. till your release, till released by you.

15. Him. See note on iv. 1. 215, and Abbott, § 208.

17. works. See iv. 1. 144.

21. a touch, a delicate power of feeling, sensibility; also applied to the feeling or emotion itself, as in Two Gentlemen of Verona, ii. 7. 18,

'Didst thou but know the inly touch of love.'

Again, it signifies the expression of emotion. See All's Well that Ends Well, i. 3. 122, 'This she delivered in the most bitter touch of sorrow that e'er I heard virgin exclaim in.'

23, 24. that relish all as sharply, Passion as they, that feel as keenly the emotions of joy and express sorrow as they do. This is the punctuation of the first and second folios. The third and fourth omit the comma

after 'sharply,' and with this pointing ‘Passion' is a substantive. For 'passion' as a verb see Two Gentlemen of Verona, iv. 4, 172,

'Madam, 'twas Ariadne passioning

For Theseus' perjury and unjust flight.'

And Venus and Adonis, 1059,

'Dumbly she passions, franticly she doteth.'

33, &c. Warburton observed that this speech was borrowed from Medea's incantation in Ovid (Metam. vii. 197–219). There is a certain resemblance in expression to the English version by Golding, which makes it probable that Shakespeare had read the latter, as Heywood evidently had (see The Brazen Age, Works, iii. 215, ed. 1874), but with the external resemblance the likeness ceases. The following is from the edition of 1603 :

'Ye Ayres and Windes: ye Elues of Hilles, of Brookes, of Woods alone, Of standing Lakes, and of the Night approche ye euerychone.

Through helpe of whom (the crooked bankes much wondring at the

thing)

I haue compelled streames to run cleane backward to their spring.
By charmes I make the calme seas rough, & make the rough seas playne.
And couer all the Skie with clouds and chase them thence againe.
By charmes I raise and lay the windes, and burst the Vipers iaw.
And from the bowels of the earth both stones and trees do draw.
Whole woods and Forrests I remooue: I make the Mountaines shake,
And euen the earth it selfe to grone and fearefully to quake.

I call vp dead men from their graues and thee, O lightsome Moone

I darken oft, through beaten brasse abate thy perill soone.

Our Sorcerie dimmes the Morning faire, and darkes the Sun at Noone.
The flaming breath of fierie Bulles ye quenched for my sake
And caused their vnwieldy neckes the bended yoke to take.
Among the earth-bred brothers you a mortall warre did set
And brought asleepe the Dragon fell whose eyes were neuer shet.'

33. elves, fairies; from A. S. alf, Icel. álfr, of which another form used by Shakespeare is ouphe (Merry Wives of Windsor, iv. 4. 49). In the Norse mythology the elves haunted the hills, but in Anglo-Saxon the word 'elf' was applied to fairies generally.

34. printless foot. Compare Milton, Comus, 897, and Venus and Adonis, 148,

Dance on the sands, and yet no footing seen.'

37. the green sour ringlets. Douce conjectured 'green-sward,' which in Shakespeare's time was spelt and pronounced 'sord,' as in Winter's Tale, iv. 4. 157, where the first folio reads,

This is the prettiest Low-borne Lasse, that euer
Ran on the greene-sord.'

But the change is unnecessary. For the popular belief that these rings were caused by the dancing of fairies see Merry Wives of Windsor, v. 5. 69, 70, and Drayton's Nymphidia, 69–72,

And in their courses make that Round,

In Meadowes and in Marshes found,
Of them so call'd the Fayrie ground,
Of which they haue the keeping.'

And Midsummer Night's Dream, ii. 1. 86,

'To dance our ringlets to the whistling wind.'

On the whole subject consult Keightley's Fairy Mythology.

38. not bites. See ii. I. 116.

39. mushrooms. The first folio reads 'Mushrumps.' Compare Lyly, Euphues (ed. Arber), p. 62, 'that the greatest Mushrompe groweth in one night?'

41. Weak masters though ye be.

Blackstone explains this, Ye are

powerful auxiliaries, but weak if left to yourselves.'

Ib. bedimm'd. The prefix 'be' 'adds an intensitive force to transitive verbs.' (Morris, English Accidence, § 324.)

43. azured. Sidney Walker conjectured azure.' Milton (Comus, 893) has 'azurn.' There is a somewhat similar use of the participle for the adjective in Sonnet cxv. 5,

But reckoning Time, whose million'd accidents,' &c.

47. the spurs, the roots which project like spurs from the trunk. Compare Cymbeline, iv. 2. 55,

'I do note

That grief and patience, rooted in him both,
Mingle their spurs together.'

49. oped. See i. 2. 37.

51. required, asked for.

Both 'require' and 'demand' were formerly used in a sense slightly different from that attached to them now. Compare Psalm cxxxvii. 3, 'For there they that carried us away captive required of us a song,' where there is no idea of asking as a right. 55. certain, used of an unspecified number. See Julius Cæsar, iv. 3. 70,

'I did send to you

For certain sums of gold, which you denied me.'

And Antony and Cleopatra, ii. 7. 21,

'They take the flow o' the Nile

By certain scales i' the pyramid.'

57. my book. See iii. 1. 94.

58. Capell omits and.'

59. unsettled fancy, disturbed imagination. Compare King Lear, iii. 4. 167, His wits begin to unsettle.' And Winter's Tale, ii. 3. 119,

'Not able to produce more accusation

Than your own weak-hinged fancy.'

60. boil'd. Pope's reading for 'boile' or 'boil' of the folios. Compare Midsummer Night's Dream, v. I. 4,

'Lovers and madmen have such seething brains.'

And Winter's Tale, iii. 3. 64, 'Would any but these boiled brains of nineteen and two-and-twenty hunt this weather?'

62. Holy Gonzalo. Compare Winter's Tale, v. I. 170,

63. even sociable to, in close companionship and sympathy with. Compare King John, iii. 4. 65,

'Where but by chance a silver drop hath fallen

Even to that drop ten thousand wiry friends

Do glue themselves in sociable grief.'

Ib. show, appearance.

64. Fall, let fall. See ii. 1. 288.

Ib. fellowly, companionable, sociable. See Abbott, § 447. Johnson (Dict.) quotes from Tusser [p. 182, ed. Mavor],

'One seed for another, to make an exchange,

With fellowly neighbourhood, seemeth not strange.'

67. ignorant fumes, fumes that produce ignorance. Compare Webster, Appius and Virginia, iv. 1,

'So far benighted in an ignorant mist.'

Ib. fumes. See note on Macbeth, i. 7. 65–67.

Ib. mantle. See iv. 1. 182. The meaning is 'the fumes of ignorance that have spread like a scum over and obscured their clearer reason.'

69. sir, a gentleman. See Cymbeline, i. 6. 160, 175,

In a similarly intensive sense it occurs in Measure for Measure, iv. 3. 148,

'Accuse him home and home.'

74. Theobald reads,

'Thou'rt pinch'd for 't now, Sebastian, flesh and blood.'

75-79. On the change from 'you' to 'thou' when Prospero pro