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“compliment to the Earl of Essex, on his being united in wedlock to Lady Frances Howard in 1611. He had been abroad ever since he was first contracted to her in 1607."

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ACT V. SCENE I. 3. Time goes upright with his carriage. 'Does not faint under the burden of carrying out my plans.' Carriage' ('carry,''car'), now the thing which carries us,' used to mean the 'act of carrying anything,'or the 'thing carried.' So Bacon speaks of the manner of carriage of the business.” So in Winter's Tale, iii. I, 17: “ The violent carriage (mode of conducting it) will clear or end the business.” We use now 'a noble carriage' of bearing one's self well

. A passage in Merry Wives, ii. 2, 179: For easing me of the carriage" (of a bag of gold), marks the transition to the sense of 'burden' or 'baggage,' as in “We took up our carriages.Acts xxi. 15. 10 Line-grove

.

* Lind,' 'linden,' and 'line' are the same as ‘lime-tree.

Weather-fend. So Wordsworth expresses surprise at the umbrella

“Which weather-fends the Celtic herdsman's head." II Budge. Fr. 'bouger,' 'to move.'

12 Your release ; i.e. 'your releasing them.', Release' is generally passive; here active Conversely, TóQoş, generally active, is passive in oos módos, your being loved by me;' so Tåuà vovõetýuara, my being advised by you. Cp. "pardon my wrongs.” (line 119), and "your compensation” (iv. 1, 2). So “Love's dislike” in Spenser-Prothal means 'dislike for love.'

23 Passion as they. A verb, as in Venus and Adonis, 1509 : “Dumblyshe passions, franticly she doteth ;” and Love's Labour's Lost, i. 1: I passion to say wherewith.” Some remove the comma at 'sharply' to convert 'passion' into a substantive.

33 Ve elves of hills, brooks, of standing lakes. “Ye airs and winds, ye elves of hills, of brooks, of woods alone,

Of standing lakes, and of the night, approach ye every one,

Through aid of whom,” &c. These are the opening words of Medea's speech in Golding's translation of Ovid's Metamorphoses (vii. 197), published 1576. Shakespeare then had studied Medea before drawing Prospero.

41 Weak masters. (Cp. “Fire is a good servant, but a bad master.”) “The spirits cannot act without the magician's order.' So it was believed that evil spirits could not enter a house or room of themselves, but must be listed across the threshold. The ghostly lady in Christabel has to be so brought in. Bedimmed the noontide sun. Cp.-

“Our sorcery darks the sun at noon."--GOLDING's Ovid.

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42 Called forth the wind. Cp.-

By charms I make the calm sea rough.”—OVID. 47 Shake. Cp.

•Whole'woods and forests I remove;

I make the mountains shake,
And e'en the earth itself to groan,

And fearfully to quake.”—OVID.
Spurs. The lateral shoots made by the roots of trees.
48 Graves. Cp.--

“I call up dead men from their graves.”—Ovid. 60 Boiled braines. Cp. Winter's Tale, iii. 3, 64: “Would any but these boiled brains of nineteen and two-and-twenty hunt this weather?” with Troilus and Cressida, i. 2, 47, where Thersites calls Ajax a sodden-witted lord.” Cp. water on brain.” The folios read 'boil :' to this it would be necessary to supply 'which.'

63 Even sociable ; i.e. (“sympathetic'); Particles are freely transposed in Shakespeare; so even’ might be either even as much as yours seem,' or 'even fall drops. It is possible that 'even' here may itself have the sense of fellowly and sociable,' as “Their even Christian.”Hamlet, v. I, 35; and in Wiclif:

• My brother and even worker and even knight” (A.V. “Companion in labour, and fellow-soldier”).-Philippians, ii. 25.

64 Fall. Latin verbs are mostly either transitive or intransitive. Greek and English verbs are mostly both.

102 Drink the air. Cp. 'carpere viam,' and “devour the way.”- 2 Henry IV. i. 1.

128 Justify you traitors. Cp. “It is justifiable by Cæsar that they used to shave all except their head.” (Quoted by Richardson.) 139 Woe is an adjective, like Scotch 'wae.' Cp. “Woe is

“But be you sure I coold be wo
If ye shulde chance to begyle me so.”.

(Quoted by Nares.) 172 Discovers. So, “Pulling down and dis-covering[unroofing] churches.”—GRINDAL. Also, Discover the several caskets." Merchant of Venice, ii. 7; and, Discovereth the thick bushes ;' i.e. 'strippeth of leaves.'—Psalm xxix.

9. 174 Notice the play in “play false," followed up by the one on “not for the world,” &c.

199 Remembrances ; a trisyllable, 'remembrance';' cp. 'princess',' i. 2, 173.

224 Ship is tight and yare. So in the shipwreck on Bermudas, in 1609, the ship, “by God's divine providence, at a high water, ran right between two strong rocks, where it stuck fast without breaking: The poet has of course dramatic reasons as well. Cp. 1. 308.

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244 Conduct, for conductor,' still retained at Eton and in some colleges.

258 Coragio. A traveller should be able to talk all languages. So Dogberry says 'palabras,' Much Ado, iii. 5, 18.

Bully. Blustering,' especially of a coward at heart. Caliban is shrinking back. Cp. line 262.

268. True, Honest.'

271 Deal in her command without her power. .Power' meaning authority.' Exercise her rule without being empowered by her to do so;' have her kpátos without the åpxn.

279 Reeling ripe='drunk to reeling.'

280 Gilded them. A play (1) on their clothes, (2) on sack being the true 'aurum potabile,' or elixir. Cp. Antony and Cleopatra, i. 5–

“Yet coming from him that great medicine hath

With his tinct gilded thee, with Beaumont and Fletcher's Chances

Is she not drunk too? Ans. A little gilded o'er, sir.” 284 Fly-blowing. After being pickled in the pool.

EPILOGUE, 10 Your good hands. The island is the stage; the magician is the poet, spell-bound till his audience applaud. •Vos valete et plaudite.'

RUGBY EDITION.

Abridged and adapted for the use of Schools, by

ARTHUR SIDGWICK, M.A.,
ASSISTANT-MASTER AT RUGBY SCHOOL, AND FORMERLY FELLOW OF

TRINITY COLLEGE, CAMBRIDGE.
Small 8vo. Is. 6d, each ; or, in paper cover, is.

ARISTOPHANES.

THE CLOUDS. THE FROGS. THE KNIGHTS. PLUTUS.

EURIPIDES.

IPHIGENIA IN TAURIS. THE CYCLOPS. ION.
ELECTRA. ALCESTIS. BACCHÆ. HECUBA.

“Mr. Sidgwick has put on the title-pages of these modest little volumes the words Rugby Edition, but we shall be much mistaken if they do not find a far wider circulation. The prefaces or introductions which Mr. Sidgwick has prefixed to his

Scenes' tell the youthful student all that he need know about the play that he is taking in hand, and the parts chosen are those which give the general scope and drift of the action of the play.”--School Board Chronicle.

“Each play is printed separately, on good paper, and in a neat and handy form. The difficult passages are explained by the notes appended, which are of a particularly useful and intelligible kind. In all respects this edition presents a very pleasing contrast to the German editions hitherto in general use, with their Latin explanatory notes--themselves often requiring explanation. A new feature in this edition, which deserves mention, is the insertion in English of the stage directions. By means of them, and the argument prefixed, the study of the play is much simplified.' -Scotsman.

“A short preface explains the action of the play in each case, and there are a few notes at the end which will clear up most of the difficulties likely to be met with by the young student."-Educational Times.

“ Just the book to put into the hands of boys who are reading Greek plays. They are carefully and judiciously edited, and form the most valuable aid to the study of the elements of Greek that we have seen for many a day. The Grammatical Indices are especially to be commended."-Athenæum.

“These editions afford exactly the kind of help that school-boys require, and are really excellent class-books. The notes, though very brief, are of much use and always to the point, and the arguments and arrangement of the text are equally good in their way." --Standard.

“Not professing to give whole dramas, with their customary admixture of iambics, trochaics, and choral odes, as pabulum for learners who can barely digest the level speeches and dialogues commonly confined to the first-named metre, he has arranged extracted scenes with much tact and skill, and set them before the pupil with all needful information in the shape of notes at the end of the book ; besides which he has added a somewhat novel, but highly commendable and valuable feature--namely, appropriate headings to the commencement of each scene, and appropriate stage directions during its progress."--Saturday Review.

“These are attractive little books, novel in design and admirable in execution. ... It would hardly be possible to find a better introduction to Aristophanes for a young student than these little books afford.”-London Quarterly Review.

RIVINGTONS, LONDON, OXFORD, AND CAMBRIDGE,

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