A^'^aa^s ;^SS59; mfp^w:.^mH'^im^^'^ mm^ffmimmissmmm 0. A AW^:'^''^n:^X,'^ :Aa|^f^?^^/?e A;"/".' A'»' a' A; ?r\X''^Sni*i rAWiMtt^l^ funs PREFACE. In the course of the following remarks I have endeavoured to shew that sundry of the recently-published Emendations by the Manuscript-corrector of the folio 1632 are altogether erx'oneous; and I might have noticed a variety of others by that mysterious personage, which, I feel assured, are such as cannot stand the test of criticism. But the reader must not therefore suppose that I consider Mr. Collier's volume as useless to the future editors of Shakespeare : my opinion is, that.while it abounds with alterations ignorant, tasteless, and wanton, it also occasionally presents cor- rections which require no authority to recommend them, because common sense declares them to be right. Since these sheets were printed off, I have found that the quo- tation from Cotgrave at p. 71 was long ago adduced by Mr. Singer in his edition of Shakespeare; and that the emendation given as my own at p. 36 had previously occurred to the same gentleman. A. D. i\ A 4 y* Cr r^ Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/fewnotesonshakesOOdycerich CONTENTS. PAGE THE TEMPEST 9 THE TWO GENTLEMEN OF VERONA 17 THE MERRY WIVES OF WINDSOR 18 MEASURE FOR MEASURE 24 THE COMEDY OF ERRORS .28 MUCH ADO ABOUT NOTHING 37 LOVE'S LABOUR'S LOST 48 A MIDSUMMER-NIGHT'S DREAM 61 THE MERCHANT OF VENICE .64 AS YOU LIKE IT . . 68 THE TAMING OF THE SHREW 70 ALL'S WELL THAT ENDS WELL 72 TWELFTH NIGHT 75 THE WINTER'S TALE 79 KING JOHN 83 RICHARD II 92 FIRST PART OF HENRY IV 93 SECOND PART OF HENRY IV 97 SECOND PART OF HENRY VI 99 THIRD PART OF HENRY VI 101 RICHARD III. .103 HENRY VIII 105 Vlll CONTENTS. PAGE TROILUS AND CRESSIDA IO7 ROMEO AND JULIET , , .109 JULIUS C^SAR 116 MACBETH . 118 HAMLET 134 KING LEAR 146 OTHELLO 147 ANTONY AND CLEOPATRA . 150 CYMBELINE I55 A FEW NOTES, ETC. THE TEMPEST, Act i. sc. 2. " The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin's cAee^, Dashes the fire out." " The manuscript corrector of the folio, 1632,' has sub- stituted heat for ' cheek,' which is not an unlikely corrup- tion by a person writing only by the ear." Collier's Notes and Emendations, Sfc, p. 2. " On the whole, heat in this place seems to be one of those alterations, which, though supported by some probability, it might be inexpedient to insert in the text." Id, p. 503. I must be allowed to protest against the Manuscript- corrector's " /i^fl^,"as not supported by any probability : in fact, it is an alteration equally tasteless and absurd. Act i. sc. 2. " Lend thy hand, And pluck my magic garment from me. — So ; \_Lays down his mantle. Lie there my arV B 10 THE TEMPEST. Here Steevens observes (from Fuller), that ** Lord Bur- leigh, when he put off his gown at night, used to say. Lie there^ Lord Treasurer,'' — So m A Pleasant Commodie called Looke about you, which was printed in 1600 (and therefore preceded The Tempest), Skinke puts off his hermit's robes with a similar expression ; " Bob. Adew, good father. — Holla there, my horse ! lExit. Skin. Vp-spur the kicking jade, while I make speede To conjure Skinke out of his hermits weede. Lye there religion.'' Sig. A 2. and in Chettle's Tragedy of Hoffman, 1631 (which was also an earlier play than The Tempest*), Lorrique, throwing off the disguise of a French doctor, says ; " Doctor lie there. Lorrique, like thyselfe appeare." Sig. G. I may add, that in Shadwell's Virtuoso, Sir Samuel Harty lays aside his female dress with the words, " So, tyrewoman, lie thou there," Act iv. p. 388, Works, ed. 1720. Act i. sc. 2. " With hair up-staring.'' Many readers of Shakespeare are perhaps not aware how common this expression was formerly. It not only found a place in the most serious poetry, as here, and in Chapman's Hero and Leander (Marlowe's Works, iii. 91. ed. Dyce), but belonged to the phraseology of daily life : * See Henslowe's Diary^ p. 229, ed. Shak. Soc. THE TEMPEST. 11 " Les cheveux luy dressent. His haire stares ^ or stands annend." Cotgrave's Diet, sub Dresser; and compare Florio's Diet, sub Arricciare. Act i. sc. 2. " Foot itfeatly here and there." This expression, which is now so familiar to us from Ariel's song, was certainly an unusual one in the days of Shakespeare, who probably caught it from a line in Lodge's Glaucus and Scillay 1589, — " Footing itfeatlie on the grassie ground." Sig. A 2. Act i, sc. 2. " my prime request, Which I do last pronounce, is, O you wonder! If you be maid or no ? Mira. No wonder, sir; But, certainly a maid." In a note on this passage, in his ed. of Shakespeare^ Mr. Collier observes ; " Ferdinand has at first supposed Miranda a goddess, and now inquires if she be really a mortal ; not a celestial being, but a maiden. ' Maid' is used in its general sense. Miranda's answer is to he taken in the same sense as Ferdinand's question.'' I differ entirely from Mr. Collier about the meaning of Miranda's answer. She plays on the word maid: — '* But, certainly a maid," i. e. a virgin. 12 THE TEMPEST. Act iii. sc. 1. " But these sweet thoughts do even refresh my labours ; Most husy-less when I do it." The first folio has, " Most busy lest, when I do it ;" the second folio, " Most busy, least when I do it." The reading " busy -less" is Theobald's. According to Mr. Collier {Notes and Emendations, &c. p. 11), the controversy about this passage "seems set at rest by the manuscript correction in the folio 16S2 ;" which is,— " ' Most lousy— blest, when I do it.' That is to say, he deems himself blest even by heavy toils, when they are made light by the thoughts of Miranda ; he was * most busy,' but still blest, when so employed. It is right to add that this emendation is, like a few others, upon an erasure, as if something had been written there before : perhaps the page had been blotted." Now, I decidedly think — that the Manuscript -cor- rector's emendation is forced and awkward in the very extreme ; — that Mr. Collier is as unsuccessful in defending it, as he was when in his edition of Shakespeare he de- fended the old misprint, "Most busy, least;'' — and that the conjecture of Theobald, " busy -less,'' is far more likely to be the true reading than the Manuscript -corrector's scarcely intelligible alteration, which (as is plain from what is stated about the erasure) was not his first attempt to set the passage right. THE TEMPEST. 13 Act iv. sc. 1. " Pro. If I have too austerely punish'd you, Your compensation makes amends ; for I Have given you here a thread of mine own life Or that for which I live." Mr. Collier observes {Notes and Emendations, Sec. p. 1^) ; " The text has been much disputed, and for * third' of the old printed copy, the corrector of the folio, 1632, has written thrid {i.e. thread) in the margin. This fact may possibly be decisive of the question." Mr. Collier is hardly justified in saying that ** the text has been much disputed." " Thread" has been adopted by all the recent editors, except Mr. Collier himself, v^ho strenuously supported v^hat he is nov^^ willing to reject on the authority of the Manuscript-corrector. In case any future editor should still be inclined to make Prospero term Miranda " a third of his life," it may be well to remark here, — that in the language of poetry, from the earliest times, a beloved object has always been spoken of, not as the third, but as the half of another's life or soul : (so Meleager, afiLcrv fiev yjrvx'^'^ ; and Horace, "animae dimidium mese"). Act iv. sc. 1. " And, like this insubstantial pageant faded, Leave not a rach behind." So this famous passage stands in all editions old and new. But I believe that Mai one's objection to the read- ing, " a rack,^' is unanswerable. " No instance," he ob- serves, " has yet been produced where 7^ack is used to sig- nify a single small fleeting cloud;'' in other words, — though 14 THE TEMPEST. our early writers very frequently make mention of " the rack," they never say " a rack." Malone adds, " I incline to think that rack is a mis-spelling for wrack, i.e» wreck ;" and I now am thoroughly convinced that such is the case. In authors of the age of Elizabeth and James I have repeatedly met with rack put for wrack ; and in all the early editions o^MJlioriS Paradise Lost which I possess, — viz. the first, 1667, the second, 1674, the third, 1678, the fourth, 1688, and the eighth, 1707,-1 find,— " Now dreadful deeds Might have ensued, nor only Paradise In this commotion, but the starry cope Of Heaven perhaps, or all the elements At least had gone to rack [i. e. i(;rac^= wreck]," &c. B. iv. 990. " A world devote to universal rack [i, e. wracA;= wreck]." B. xi. 821. Act iv. sc. 1. " Come, hang them on this line.'" " To the old stage-direction, Enter Ariel, loaden with glistering apparel, the manuscript corrector of the folio, 1632, has added the explanatory words. Hang it on the line; but whether we are to understand a line tree (as has been suggested by Mr. Hunter, in his learned Essay on the Tempest, 8vo. 1839), or a mere rope, is not stated." Col- lier's Notes and Emendations, &c. p. 13. With all my respect for Mr. Hunter's learned labours, I must confess that I think him entirely wrong in the mat- ter of the ** line.'" If no other objections could be urged against Mr. Hunter's acceptation of the word line, we surely have a THE TEMPEST. 15 decisive one in the joke of Stephano, " Now, jerkin, you are like to lose your hair," — a joke to which it is impossible to attach any meaning, unless we suppose that the line was a hair-line, Mr. Knight observes ; "In a woodcut of twelve distinct figures of trades and callings of the time of James I. (see Smith's * Cries of London,' p. 15), and of which there is a copy in the British Museum, we have the cry of * Buy a hair-line V " And in Lyly's Midas^ a bar- ber's apprentice facetiously says, **A11 my mistres' lynes that she dryes her cloathes on, are made only of Mustachio stuffe [i. e. of the cuttings of moustachios]." Sig. g 2, ed. 159^. Act iv. sc. 1. ' " Cal. The dropsy drown this fooll what do you mean, To doat thus on such luggage ? Lefs alone, And do the murder first." So the old copies. Mr. Knight follows them, quoting Steevens's preposterous suggestion that " 'Lefs alone' may mean — * Let you and I only go to commit the murder, leaving Trinculo, who is so solicitous about the trash of dress, behind us.' " — Mr. Collier prints (with a novel ab- breviation) " Let 't alone.'' — Malone alters " Let's alone" to " Let it alone f" — because, he says, " Caliban has used the expression before," — the very reason (as will be evident to any one who carefully compares the two passages) why it should not be repeated here. Has none of the commentators, then, been led by the words, "And do the murder first," to the lection obviously required in what immediately precedes ? Yes : Theobald's sagacity did not forsake him here ; but his certain emen- 16 THE TEMPEST. dation is now only to be found among the rubbish of the Variorum Shakespeare, in a very foolish note by Malone, which concludes with, " Mr. Theobald reads — * Let's along' '7 Act V. sc. 1. " The entrance of the Cell opens, and discovers Ferdinand and Miranda playing at chess. ^' There may have been something like this in the novel or tale which furnished Shakespeare with the materials for The Tempest; but if that was not the case, and if TTie Tempest was first produced shortly before the year 1611, it is not improbable that the idea of" discovering" Ferdinand and Miranda engaged at chess was suggested to Shake- speare by a similar " discovery" in Barnaby Barnes's Divils Charter, printed in 1607 (" As it was plaide hefore the King's Maiestie, vpon Candlemasse night last, hy his Maiesties Seruants, But more exactly reuewed, corrected, and aug- mented since hy the Author for the more pleasure and profit of the Reader'"), In that tragedy, Ca3sar Borgia, after taking Katherine prisoner and making her believe that he had put to death her two sons, says, — " Come hither, Katherine, wonder of thy sex, The grace of all ItaHan womanhood. Caasar shall neuer prooue dishonourable: Behold thy children lining in my tent. He discoureth hi6 Tent where her two sonnes were at Gardes'^ Sig. I. 17 THE TWO GENTLEMEN OF VERONA. Act i. sc. 1 . " Speed. Twenty to one, then, he is shipped already, And I have play'd the sheep in losing him." To the examples given by the editors of ship used for sheep f add the following one ; " A hood shall flap up and downe heere, and this ship-skin cap shall be put off." Dekker's Satiromastix, 160^, sig. f 3. Act i. sc. 1. " a laced mutton," In this very common cant expression for a courtesan, the meaning of laced has (like many other things equally unimportant) been a good deal disputed. Perhaps the mutton was called laced with a quibble — courtesans being notoriously fond of finery, and also frequently subjected to the whip : Du Bartas tells us that St. Louis put down the stews, " Lacing with laches their unpitied skin Whom lust or lucre had bestowed therein." Works, by Sylvester, — St. Louis ike King^ p. 539, ed. 1641. But in the present passage is " laced mutton'' to be re- garded as synonymous with courtesan ? I doubt it. When Speed applies that term to Julia, he probably uses it in the much less offensive sense of — a richly -attired piece of woman' s flesh. 18 THE MERRY WIVES OF WINDSOR. Act i. sc. 3. " Let me see thee/ro^A, and lime." " The first," says Steevens, "was done by putting soap into the bottom of the tankard when they drew the beer ; the other, by mixing lime with the sack (i. e. sherry) to make it sparkle in the glass." But I question if there be any allusion in this passage to frothing beer hy means of soap. Compare Greene's Quip for an Vpstart Courtier ; " You, Tom Tapster, that tap your small cans of beere to the poore, and yet Jill them half e full of froth;' &c. Sig. f 2, ed. 1620. Act i. sc. 3. " she discourses, she carves^ she gives the leer of invitation." Mr. Collier {Notes and Emendations, &c. p. 30) writes thus. "A misprint in the old editions of 'carves' for craves, has occasioned some difficulty in the passage where FalstafF, speaking of the expected result of his enterprise against Mrs. Ford, observes, as the words have been in- variably given, * I spy entertainment in her ; she dis- courses, she carves, she gives the leer of invitation.' A note in the margin of the corrected folio, 1632, shews that we ought to read * she craves, she gives the leer of invita- tion.' There seems no sufficient reason for supposing that ' carves' ought to be taken in the figurative sense of wooes ; and although ladies might now and then * carve' to guests, THE MERRY WIVES OF WINDSOR. 19 in the literal meaning of the word (as in the passage quoted by Boswell from Webster's * Vittoria Corombona,' Shakesp. by Malone, viii. 38), yet carving was undoubtedly an ac- complishment peculiarly belonging to men. Falstaff evi- dently, from the context, intends to say that Mrs. Ford has a craving for him, and therefore gave * the leer of in- vitation.' The misprint was a very easy one, occasioned merely by the transposition of a letter, and any forced construction is needless." I read with something more than surprise this ela- borate defence of " craves,'' — an alteration which (whe- ther made by the Manuscript-corrector suo periculo, or derived by him from the prompter's-book) originated in sheer ignorance of the word carve having been occasionally employed, at an earlier period, in a sense altogether dif- ferent from that of cutting up meat. And surely, if Mr. Collier had been acquainted with Mr. Hunter's remarks on that peculiar use of the word, he would at once have acknowledged that here the Manuscript-corrector is egre- giously mistaken. Mr. Hunter {New Illustr, of Shakespeare , i. 215), com- paring the present passage with that in Love's Labour's lost, act V. sc. 2, — "He can carve too and Hsp : why, this is he That kiss'd away his hand in courtesy," — observes ; " The commentators have no other idea of the word carve, than that it denotes the particular action of carving at table. But it is a quite different word. It occurs in a very rare poetic tract, entitled A Prophecie of Cadwallader, last King of the Brittaines, by William Her- bert, 4to. 1604, which opens with a description of Fortune, and of some who had sought to gain her favour : 20 THE MERRY WIVES OF WINDSOR. * Then did this Queen her wandering coach ascend, Whose wheels were more inconstant than the wind : A mighty troop this empress did attend ; There might you Caius Marius carving find, And martial Sylla courting Venus kind.' " To the lines adduced by Mr. Hunter, I have to add the following passages. " Her amorous glances are her accusers ; her very lookes write sonnets in thy commendations ; she carues thee at boord, and cannot sleepe for dreaming on thee in bedde." Day's lie of Gulls, 1606, sig. D. " And, if thy rival be in presence too, Seem not to mark, but do as others do ; Salute him friendly, give him gentle words, Return all courtesies that he affords ; Drink to him, carve him, give him compliment ; This shall thy mistress more than thee torment." Beaumont's Remedy of Love^'' — B. and Fletcher's Works, xi. 483, ed. Dyce. " Desire to eat with her, carve her, drink to her, and still among intermingle your petition of grace and accept- ance into her favour." Fletcher and Shakespeare's Two Noble Kinsmen, — B. and Fletcher's Works, xi. 414, ed. Dyce (where Seward, thinking that the cutting up of meat was in question, silently printed " carve for her''), * Beaumont's Remedy of Love is a very free imitation of Ovid's Remedia Amoris ; and (as far as I can discover) the only part of the original which answers to the present passage is — " Hunc quoque, quo quondam nimium rivale dolebas, Vellem desineies hostis habere loco. At eerie, quamvis odio remanente, saluta.'''' V. 791. THE MERRY WIVES OF WINDSOR. 21 Carving y says Mr. Hunter, " would seem to mean some form of action which indicated the desire that the per- son to whom it was addressed should be attentive and propitious." Whatever was its exact nature, it would appear, from the three passages last cited, to have been a sort of salutation which was practised more especially at table.* To return, for a moment, to the Manuscript-corrector's emendation. Does Mr. Collier see nothing absurd in "Mrs. Ford craving (i, e, having a craving for) Falstaff?'' — (she might have had a craving for a Windsor pear.) Is he sensible of no impropriety in " craving^' (a word which expresses not an action, but a feeling) being interposed between "she discourses'^ and *' she gives the leer of invitation ?'' Act ii. sc. 1. " Will you go, An-heires ?" " Warburton suggested * heris, the old Scotch word for master ;' Steevens, hearts ; Malone, hear us; Boaden, cava- * Mr. Halliwell, in his Diet, of Arch, and Prov. Words, has ; " Carve. To woo. Mr. Hunter, Illustrations, i. 215, has the merit of pointing out the peculiar use of this word, although he has not discovered its meaning, which is clearly ascertained from the use of the substantive carver in Lilly's Mother Bombie, * neither father nor mother, kith nor kinne, shall bee her carver in a husband ; shee will fall too where shee likes best.' " — I cannot agree with Mr. Halliwell in thinking that the meaning of carve is ascertained by this passage from Mother Bombie : in fact, Lilly there uses *' carver'''' in its common acceptation, as is manifest from the conclusion of the passage, — *' shee will fall to where shee likes best." Compare Don Quixote ; " ' Why, an't please you,' quoth Sancho, ' Teresa bids me make sure work with your worship, and that we may have less talking and more doing ; that a man must not be his own carver ; that he who cuts does not shuffle,' " &c. Vol. iiL 200, ed. Edin. 1822. (Motteux's trans.) 22 THE MERRY WIVES OF WINDSOR. Hers, &c. The manuscript corrector of the folio, 1632, merely changes one letter, and omits two, and leaves the passage, ' Will you go on, here ?' * * * It is singular that nobody seems ever to have conjectured that on here might be concealed under ' An-heires.' " Collier's Notes and Emendations, &c. p. 33. To me it appears altogether unlikely that two such common words as ** on here'^ should have been mistaken, either by copyist or compositor, for " An-heires :" and I apprehend that, when the Manuscript-corrector altered the vox nihili by " merely changing one letter and omitting two," he at the same time was far from feeling confident that " on here'' was " concealed under An-heires.'' There is a passage in act ii. sc. 3 of Fletcher's Beggars' Bush, as exhibited in the folio, 1647, which, unless I am much deceived, enables us to determine positively what word ought to take the place of " An-heires" in the text of the great dramatist. For my own part at least,- — since I find in that folio, p. 80, " Nay, Sir, mine heire Van-dunck Is a true Statesman," — I can no longer doubt that " An-heives" is a misprint for " Min -heires," and that Hanmer (whose emendation Mr. GoUier does not even notice) restored the genuine reading, when he altered '* Will you go, An-heires ?" to " Will you go, Mynheers?" We have no reason to suppose that the word Mynheer (which, as we have just seen, is used by Fletcher) was less known in England when Shakespeare wrote The Merry Wives of Windsor than it is at present (perhaps, indeed, by means of the soldiers who returned from the wars in the THE MERRY WIVES OF WINDSOR. 23 Netherlands, it was formerly better known than now) ; nor is there any reason why it should not have been in the Host's vocabulary as well as bully -rook.* * I may just observe that " Bully -rocA;" (which is only another form of the word) occurs over and over again in Shadwell's Sullen Lovers : see his Works, vol. i. pp. 26, 37, 45, 46, 62, 69, 74, 83, 84, 101, 102, 108. '2i MEASURE FOR MEASURE. Act i. sc. 2. " Bawd. What's to do here, Thomas Tapster?" *' Why," says Douce, ** does she call the clown by this name, when it appears from his own showing that his name was Pompey ? Perhaps she is only quoting some old saying or ballad." Because Thomas or Tom was the name commonly ap- plied to a Tapster ; for the sake of the alliteration, it would seem. See the passage cited from Greene, at p. 18. Act ii. sc. 2. " How would you be, Khe, which is the top of judgment, should But judge you as you are ?" . " We meet," says Mr. Collier, " with a bold and strik- ing emendation in one of Isabella's noble appeals to Angelo The amended folio, 1632, has it, — * How would you be, If he, which is the God of judgment, should But judge you as you are?' This is not to be considered at all in the light of a profane use of the name of the Creator, as in oaths and exclama- tions ; and while top may easily have been misheard by the scribe for ' God,' the latter word, though the meaning is of course the same, adds to the power and grandeur of the passage." Notes and Emendations ^ &c. p. 45. UNIVE MEASURE FOR MEASURE. 25 What Mr. Collier calls "a bold and striking emenda- tion," deserves rather to be characterised as rash and wan- ton in the extreme. That very expression, which did not suit the taste of the Manuscript-corrector, occurs in another mighty poet, — one whose fame is as imperishable as Shakespeare's. In the sixth Canto of the Purgatorio, Dante, having met with certain spirits who were anxious to obtain the prayers of the living, thus addresses his conductor ; " E' par che tu mi nieghi, O luce mia, espresso in alcun testo, Che decreto del Cielo orazion pieghi : E queste genti pregan pur di questo. Sarebbe dunque loro speme vana? O non m' d il detto tuo ben manifesto?" Virgil replies ; " La mia scrittura e plana, E la speranza di costor non faUa, Se ben si guarda con la mente sana ; Ch^ cima di giudicio non s' avvalla, Perch^ foco d' amor compia in un punto Cio che dee soddisfar chi qui s' astalla," &c. V. 28, sqq. Act ii. so. 2. " Not with fond shekels of the tested gold," &c. '* It is spelt sickles in the old copies, but the true word may be circles; and the manuscript corrector of the folio, 1632, has altered * sickles' to sirkles, paying no other atten- tion to the spelling of the word. Nevertheless * shekels' may be right, and it is used, exactly with the same spelling, by Lodge in his *Catharos,' 1591, sign, c, where we read, D 26 MEASURE FOR MEASURE. * Here in Athens the father hath suffred his sonne to bee hanged for forty sickles, and hee worth four hundred talents.' " Notes and Emendations, &;c. p. 45. After the quotation from Lodge, Mr. Collier might have been sure that the Manuscript-corrector's alteration was quite wrong. Compare also Peele's David and Beth- sabe ; " That so I might have given thee for thy pains Ten silver shekels [old ed. " sickles"] and a golden waist." Works, ii. 63, ed. Dyce, 1829. " Circles of gold, ^* I conceive, could only mean crowns {diadems) of gold. (In Macbeth, act i. sc. 5, we have "the golden round," i. e, diadem.) Act iii. sc. 1. " Servile to all the skyey influences." Our lexicographers adduce no other example of ^^ skyey'' except the present. Perhaps Shakespeare found it in a writer, from whom (as will afterwards be shewn) he bor- rowed a remarkable expression for Macbeth ; " So on I hasted at my jades behest, As whilom Phaeton in his skyey carte," &c. A Fig for Fortune, 1596, by Anthony Copley, p. 20. Act iii. sc, 1. " her combinate husband." The late W. S. Rose, after giving some instances of the " close and whimsical relation there often is between English and Italian idiom," concludes with this remark. *' Thus every Italian scholar understands ' her combinate MEASURE FOR MEASURE. 21 husband' to mean her husband elect ; and at this hour there is nothing more commonly in an Italian's mouth than * Se si puo comhinarla' (if we can bring it to bear), when speak- ing with reference to any future arrangement," Note on his translation of Orlando Furioso, vol. iv. 47. 28 THE COMEDY OF ERRORS. Act ii. sc. 1. ^^ Ant. S. You would all this time have proved, there is no time for all things. " Dro. S. Marry, and did, sir ; namely in no time to recover hair lost by nature." So the first folio erroneously reads. Malone printed ** namely, e'en no time" (which sounds oddly enough) ; and Mr. Collier adopts it, without mentioning that it is a mo- dern reading, — a very unusual oversight in him. The second folio gives what is evidently right, — " namely, no time to recover hair lost by nature." Act iii. sc. 1. " Maud, Bridget, Marian, Cicely, Gillian, G^m." In this line, though it rhymes with one ending in " let us m," the modern editors (with the exception of Mr. Col- lier, who retains the above spelling) print " Jen'." The name should be spelt "Jin" (a contraction oi Jinny ; see Cotgrave's Diet, in Jannette), Act iii. sc. 1. ^^ Luce. Have at you with another; that's, — When? can you telir This proverbial question occurs in Day's Law-Trickes, 1608; THE COMEDY OF ERRORS. 29 " Still good in law ; ile fetch him ore of all, Get all, pursse all, and be possest of all, And then conclude the match, marrie, at least. When, can you tell ?" Sig. D 3. Act iii. sc. 2. " Far more, far more, to you do I decline." Mr. Collier observes that this " may be reconciled to sense ; but the reading of the corrector of the folio, 1632, * incline,' which makes a very trifling change, seems pre- ferable." Notes and Emendations, &c. p. 61. The Manuscript-corrector merely substituted a word more familiar to himself and those of his time than " (de- cline." That the latter is what Shakespeare wrote, is not to be doubted : compare Greene ; " That the loue of a father, as it was royall, so it ought to be impartiall, neither declining to the one nor to the other, but as deeds doe merite." Penelope's Web, sig. g 4, ed. 1601. Act iii. sc. 2. " Dro. S. Swart, like my shoe, but her face nothing like so clean kept : for why? she sweats ; a man may go over shoes in the grime of it." So, in all editions, an interrogation-point is wrongly put after "why." The words ought to run, — ^'for why she sweats; a man," &c., — "for why'' being equivalent to because, for this reason that. Compare ; " But let me see ; what time a day ist now ? It cannot be imagin'd by the sunne. For why I haue not scene it shine to daie," &c. A Warning for Faire Women, 1599, sig. e 4. 30 THE COMEDY OF ERRORS. " Content he lies, and bathes him in the flame, And goes Not forth, For why he cannot line without the same." Greene's Neuer too late^ sig. p 2, ed. 1611. " Thomas, kneele downe ; and, if thou art resolu'd, I will absolue thee here from all thy sinnes, For why the deed is meritorious." The Troublesome Raigne of King John {Part Sec), sig. L 2, ed. 1622. Act iv. sc. 2. " A devil in an everlasting garment hath him," &c. The following description of a Sergeant is worth quoting, as it was drawn, no doubt, from the life : " One of them had on a buffe -leather jerkin, all greasie before with the droppings of beere that fell from his beard, and, by his side, a skeine like a brewers bung knife ; and muffled hee was in a cloke turn'd ouer his nose, as though hee had beene ashamed to shew his face." (We are afterwards told that he is a Sergeant.) Greene's Quip for an Vpstart Courtier, sig. d3, ed. 1620. Act iv. sc. 2. " Have you not heard men say, That Time comes stealing on by night and day? If he be in debt and theft, and a sergeant in the way. Hath he not reason to turn back an hour in a day? " In the third line the old copies have " If /be in debt." Malone altered " i" to " he," — ^which his successors adopt. Rowe read, " If Time be in debt," &c., and, I think, rightly : in the MS. used for the first folio, the word (because THE COMEDY OF ERRORS. 31 it had occurred so often just before) was probably written here contractedly, " T," which the compositor might easily mistake for "I." Act iv. so. 3. ^^ Ant. S. Avoid therij fiend." " The manuscript-corrector of the folio, 1632, has it, * Avoid, thou fiend !' which is probably accurate, but the change is trifling." Collier's Notes and Emendations, &c. p. 62. Here the Manuscript-corrector has anticipated me. On the margin of the Varior, Shakespeare, I noted down what follows several years ago. ** The word ' then* seems uncalled for by any thing that Dromio has just said : An- tipholus had already declared that the lady was * Satan' and *the devil:' — surely, the right reading is ^ Avoid thee, fiend r'' I must add, — first, that '' thee" is preferable to " thou,''' because it comes nearer the old reading " then ;" and secondly, that ^' Avoid thee, fiend/" is much more com- mon than " Avoid, thou fiend .'" (the former occurs fre- quently even in modern writers ; e.g, "Avoid tliee^ fiend! with cruel hand Shake not the dying sinner's sand," &c. Scotf s Marmion, c. vi.) Act iv. sc. 4. " Ant. E, You minion, you ; are these your customers V "A customer is used in Othello for a common woman. Here it seems to signify one who visits such women" Ma- LONE. This is the only note on the passage ; and a surprising 32 THE COMEDY OF ERRORS. note it is. — " Your customers'' means nothing more than — the people who frequent your house. {''Auentoref a custo- mer, SL commer or a frequentor to a place." Florio's Diet,) Act V. sc. 1. " The place of depth and sorry execution.' " Is amended in manuscript in the folio, 1632, to * The place of death and solemn execution/ " Collier's I^otes and Emendations, &c. p. 63. That ''depth" was a misprint for " death," I did not require the authority of the Manuscript-corrector to con- vince me ; but I am glad that he has pronounced it to be so, because the probability of any future editor retaining it is thereby considerably lessened. (Even Mr. Collier, who gave " death" in his text, was afterwards troubled with great doubts whether he had done rightly: see the ** Additional Notes'' to his Shakespeare, i. cclxxxv.) According to Mr. Hunter, " ' The place of depth' means, in the Greek story, the Barathrum, the deep pit, into which offenders were cast. So Jonson, — * Opinion! let gross opinion sink As deep as Barathrum.' Every Man in his Humour, ed. 1601." New Illustr. of Shakespeare, i. 225. I do not perceive the appositeness of this quotation from Jonson.* In it " Barathrum" undoubtedly means helL Compare Dekker's Knights Conjuring, 1607 ; **' In- * It is incorrectly cited above. In the quarto, 160] , it stands thus ; *' Opinion, O God let'grosse opinion sinck and be damnd As deepe as Barathrum." Sig. M. THE COMEDY OF ERRORS. 33 raged at which, he flung away, and leapt into Barathrum.'''' Sig. c 3. Taylor's Worlds Eighth Wonder; '* Thus all blacke Barathrum is fill'd with games, With lasting bone-fires, casting sulphur-flames." p. 67,— TFbr^es, ed. 1631. and his Bawd ; " Cocitus Monarch, high and mighty Dis, Who of Great Limbo-Lake Commander is. Of Tartary, of Erebus, and all Those Kingdomes which men Barathrum doe call" p. 92 (second), — Ibid. Act V. so. 1 . " Serv. O mistress, mistress, shift and save yourself ! My master and his man are both broke loose, Beaten the maids a-row, and bound the doctor. Whose beard they have sing'd off with brands of fire ; And, ever as it blaz'd, they threw on him Great pails of puddled mire to quench the hair ; My master preaches patience to him, and the while His man with scissors nicks him like a fool. ********* Mistress, upon my life, I tell you true ; I have not breath'd almost, since I did see it. He cries for you, and vows, if he can take you. To scorch your face, and to disfigure you." Warburton saw that, in the last line, the true reading was *' scotch;" but this obvious emendation has been treated with contempt by his successors. " 'Scorch,' says Steevens, " I believe, is right. He would have punished her as he had punished the conjurer before;" — which must have d4 THE COMEDY OF ERRORS. been ty singing off her heard! — The folio has the very same misprint in Machethy act iii. so. 2 ; " We have scorch'd [read " scotch'd"] the snake, not kill'd it." So, too, have all the old editions of Beaumont and Fletcher's Knight of the Burning Pestle, act iii. sc. 4 ; " Re-enter George, leading a second Man, with a patch over his nose. George. Puissant Knight, of the Burning Pestle hight. See here another wretch, whom this foul beast Hath scorcht [read ''scotch'd"] and scor'd in this inhuman wise !" Act V. sc. 1. " I think, you all have drunk of Circe's cup." Malone writes ; " The Duke means to say, I think you all are out of your senses ; so below ; — * I think you are all mated, or stark mad.' Circe's potion, however, though it transformed the com- panions of Ulysses into swine, and deprived them of speech, did not, it should seem, deprive them of their reason ; for Homer tells us that they lamented their transformation. However, the Duke's words are sufficiently intelligible, if we consider them as meaning — Me thinks you all are be- come as irrational as beasts." But Malone forgets Virgil ; who evidently meant us to understand that those whom Circe had transformed were ** deprived of reason ;" ** Hinc exaudiri gemitus iraeque leonum, Vincla recusantum, et sera sub nocte rudentum ; THE COMEDY OF ERRORS. S5 Setigerique sues, atque in prsesepibus ursi Saevire, ac formse magnorum ululare luporum." ^n. vii. 15. " Resembling those Grecians, that, with Vlysses, drink- ing of Circes drugges, lost both forme and memories Greene's Neuer too late, sig. g 4, ed. 1611. Act V. sc. 1. " The following lines," says Mr. Collier, " as they are printed in the folio, 1623, have been the source of con- siderable cavil : * Thirty-three years have I but gone in travail Of you, my sons, and till this present hour My heavy burden are dehvered.' That the above is corrupt there can be no question ; and in the folio, 1632, the printer attempted thus to amend the passage : — * Thirty-three years have I been gone in travail Of you, my sons ; and till this present hour My heavy burdens are delivered.' Mai one gave it thus : — ' Twenty-five years have I but gone in travail Of you, my sons ; until this present hour My heavy burden not delivered.' The manuscript-corrector of the folio, 1632, makes the slightest possible change in the second line, and at once, removes the whole difficulty : he puts it, — -36 THE COMEDY OF ERRORS. * Thirty-three years have I been gone in travail Of you, my sons, and at this present hour My heavy burdens are delivered.' " Notes and Emendations, &c. p. 64. I cannot think, with Mr. Collier, that, vfhen the Manu- script-corrector alters "till" to "a^," he '* makes the slightest possible change,"" The utter improbability that "a^" should have been mistaken for "till" either by scribe or com- positor, strongly warrants the belief that the latter word was really the poet's: and I must be allowed to repeat here what I formerly advanced in my Remarks on Collier's and Knight's eds. of Shakespeare, viz.; — "I have little doubt that the genuine text is, — ' and till this present hour My heavy burden ne'er delivered.' Our early printers sometimes mistook * ne'er' (written nere) for are." p. 30. With respect to the first line of the passage, as it is given above with the imprimatur of the Manuscript-cor- rector, — " Thirty-three years have I been gone in travail,'* — Mr. Collier can hardly mean that " Thirty-three" is right, because the Manuscript-corrector has allowed that number to stand (see Theobald's note, or Mr. Collier's ovm note, ad 1.) ; and surely we may more than suspect that " been" was arbitrarily substituted for "but" by the editor or printer of the second folio. 37 MUCH ADO ABOUT NOTHING. Act i. sc. 1 . The quarto and the folio have " Enter Leonato, gouer- nour of Messina, Innogen his wife," &c. (and again at the commencement of Act ii. they make " his wife" enter with Leonato.) " It is therefore clear," says Mr. Collier ad 1., " that the mother of Hero made her appearance before the audience, although she says nothing throughout the co- medy ;" and the same gentleman, in his Notes and Emen- dations, Sec, remarks, that "the manuscript-corrector of the folio, 163^, has expunged the words Innogen, his wife, as if the practice had not then been for her to appear before the audience in this or in any other portion of the comedy." p. 66. The great probability is, that she never appeared before any audience in any part of the play, and that Theobald was right when he conjectured that " the poet had in his first plan designed such a character, which, on a survey of it, he found would be superfluous, and therefore he left it out." One thing I hold for certain, viz. that, if she ever did figure among the dramatis personae, it was not as a mere dummy : there are scenes in which the mother of Hero must have spoken ; — she could not have stood on the stage without a word to say about the disgrace of her daughter, &c. Act i. sc. 1. " Leon. How many gentlemen have you lost in this action ? Mess. But few of any sort, and none of name." 38 MUCH ADO ABOUT NOTHING. According to Monck Mason, "of any sort'' means — of any kind whatsoever ; an interpretation which, though manifestly wrong, has found approvers. The reply of the Messenger is equivalent to — But few gentlemen of any rank, and none of celebrity. So presently he says to Beatrice, " I know none of that name, lady ; there was none such in the army of any sort" So, too, in Midsummer- Night's Dream, act iii. sc. 2 ; " none of noble sort Would so offend a virgin :" and in Jonson's Every Man in his Humour, — Works, i. 24, ed. Gifford ; "A gentleman of your sort, parts," &;c. : and in A Warning for Faire Women, 1599 ; " The Queene our mistris ■ Allowes this bounty to all commers, much more To gentlemen of your sort'' Sig. F 2. Act i. sc. 1. " or do you play the flouting Jack, to tell us Cupid is a good hare-finder, and Vulcan a rare carpenter?" Mr. Knight prints " from two correspondents" an ex- planation of this passage, — which explanation he has no doubt is the right one. I am inclined to think so too. But it was given long ago by Toilet, Act i. sc. 1. " Bene. Like the old tale, my lord : it is not so, nor 'twas not so ; but indeed God forbid it should be so." Blakeway (see the Varior, Shakespeare) has preserved. MUCH ADO ABOUT NOTHING. 39 from the relation of his " great aunt," a very curious story, which may really be a modernised version of '^^ the- old tale'' here alluded to : but he was not aware that one of the circumstances in the good lady's narrative is bor- rowed from Spenser's Faerie Queene ; " When she arrived at the house, and knocked at the door, no one answered. At length she opened it, and went in. Over the portal of the hall was written. Be bold, be bold, but not too bold: she advanced. Over the stair- case, the same inscription : she went up. Over the en- trance of a gallery, the same : she proceeded. Over the door of a chamber. Be bold, be bold, but not too bold, lest that your hearfs-blood should run cold,^' &c. Blakeway*s Tale, " And, as she lookt about, she did behold How over that same dore was likewise writ, Be holde, he holde, and every where, Be hold; That much she muz'd, yet could not construe it By any ridling skill or commune wit. At last she spyde at that rowmes upper end Another yron dore, on which was writ, Be not too hold; whereto though she did bend Her earnest minde, yet wist not what it might intend." The Faerie Queene, B. iii. C. xi. st. 54. Act i. sc. 1. " D. Pedro. Nay, if Cupid have not spent all his quiver in Venice, thou wilt quake for this shortly." Long before this comedy was produced, various writers had characterised Venice as the place where Cupid "reigns and revels." So Greene ; «* Hearing that of all the citties 40 MUCH ADO ABOUT NOTHING. in Europe, Venice hath most semblance of Venus vanities .... Because therefore this great city of Venice is holden Loues Paradice," &c. Neuer too late, sig. q 2, ed. 1611. —At a somewhat later period, Coryat's Crudities made the Venetian courtesans well known in England. Act i. so. 1. " Bene, I have almost matter enough in me for such an em- bassage ; and so I commit you — Claud, To the tuition of God : From my house {if I had it)—'' There is the same sort of joke in the translation of the MencEchmi, 1595, by W. W. [William Warner?]; " Men. What, mine owne Peniculus ? Pen. Yours (ifaith), bodie and goods, if I had any^'' Sig. B. Act i. sc. 3. " What is he for a fool that betroths himself to unquietness ?" I have elsewhere observed {Remarks on Collier's and Knight's editions of Shakespeare , p. 32) that *' What is he for a fool" is equivalent to — What manner of fool is he, — What fool is he ? — So in Middleton's A Mad World, my Masters; " What is she for a fool would marry thee, a madman V Works, ii. 421, ed. Dyce. And compare War- ner's Syrinx, &c.; "And what art thou for a man that thou shouldest be fastidious of the acquaintance of men ?" Sig. Q 4, ed. 1597. MUCH ADO ABOUT NOTHING. 41 Act ii. sc. 1. " So deliver I up my apes, and away to Saint Peter for the heavens : he shews me where the bachelors sit, and there live we as merry as the day is long." With the above very erroneous punctuation the pas- sage stands in all the modern editions, except that of Mr. Knight, who properly follows the old copies in pointing it, ** — and away to Saint Peter : for the heavens, he shews me,'' &c. That ^^for the heavens*' is nothing more than a petty oath has been proved by Giiford, Jonson's Works, ii. Q^, vi. 333. Act ii. sc. 1. " D. Pedro. My visor is Philemon's roof; within the house is Jove. Hero. Why, then your visor should be thatch'd. D. Pedro. Speak low, if you speak love." " Perhaps," says Blakeway, " the author meant here to introduce two of the long fourteen-syllable verses so common among our early dramatists, and the measure of Gol ding's translation [of Ovid]." Nobody, I should sup- pose, that has eyes and ears, could doubt it. But are the lines Shakespeare's own, or taken (at least partly) from some poem of the time which has perished ? To me they read like a quotation. Act ii. sc. 1. " Bene. Well, I would you did Uke me! 4f2 MUCH ADO ABOUT NOTHING. Marg. So would not T, for your own sake ; for I have many ill qualities. Bene. Which is one? Marg. I say my prayers aloud. Bene. I love you the better ; the hearers may cry, Amen. Marg. God match me with a good dancer! Balth. Amen. Marg. And God keep him out of my sight, when the dance is done! — Answer, clerk. Balth. No more words : the clerk is answered." From a note in Mr. Knight's edition I learn that Tieck would give to Balthazar all the speeches in the above dia- logue which are now assigned to Benedick; and several years before seeing that note, I had made, in my copy of the Varioruin Shakespeare, the alteration which the Ger- man critic proposes. Mr. Knight remarks that, though Tieck is probably right, " still Benedick may first address Margaret, and then pass on, leaving Balthazar with her." I cannot think so. Benedick is now engaged with Bea- trice, as is evident from what they presently say. Besides, — is not the effect of the scene considerably weakened,* if Benedick enters into conversation with any other woman except Beatrice ? Two prefixes, each beginning with the same letter, are frequently confounded by transcribers and printers : so, in Love's Labour's lost, act ii. sc. 1, six speeches in succession which belong to Biron are assigned in the folio to Boyet, * Shortly before his death, Mr. Kenney the dramatist told me, that, having spent much time in examining each play of Shakespeare, scene by scene, merely with a view to ascertain what were its merits in point of con- struction, distribution of the dialogue, stage- effectiveness, &c., he had come to the conclusion that Shakespeare, even in the veriest minutiae, was a con- summate artist. MUCH ADO ABOUT NOTHING. 43 Indeed, we sometimes find in old plays such mistakes in the prefixes as it is impossible to account for : of this we have an instance in the present comedy, towards the close of which, the words, "Peace, I will stop your mouth," — words that indubitably belong to Benedick, — are assigned, both in the quarto and in the folio, to Leonato, Act ii. so. 1. " but civil, count, civil as an orange." It may be noticed that a ** civil (not a Seville) orange" was the orthography of the time. See Cotgrave's Diet, in *^Jigre-douce'' and in " Orange,'' Act ii. so. 3. " Enter Benedick and a Boy." Mr. Collier (ad 1.) observes ; " In the old copies Bene- dick enters * alone' before the boy makes his appearance ; and the reason is obvious, for Benedick should ruminate, and pace to and fro, before he calls the boy. In all the modern editions * Benedick and a Boy' enter together : a very injudicious arrangement." Mr. Collier has accord- ingly given the opening of the scene thus ; " Enter Benedick. Bene. Boy ! Enter a Boy. Boy. Signior:" — but probably, when Mr. Collier reprints his Shakespeare, 44 MUCH ADO ABOUT NOTHING. he will acquiesce in the modern arrangement, since the Manuscript-corrector of the folio, 1632, has added to the entrance of Benedick, ^^ Boy following,'''' — The truth is, the entrances of " such small deer" as Pages are frequently omitted in the old copies of plays. Compare Dekker's Match me in London, 1631, where a scene commences thus; " Enter Don John. Joh, Boy 1 Pach. My lord ?" &c. p. 54 [p5']i — the entrance of the page Pacheco not being marked. Act iii. sc. 2. " he hath twice or thrice cut Cupid's bow-string, and the Httle hangman dare not shoot at him." Farmer says that this character of Cupid is from Sid- ney's Arcadia (B. ii. p. 156, ed. 1598), where we are told that Jove appointed Cupid *' In this our world a hangman for to be Of all those fooles that will have all they see." Perhaps so. But I suspect that "hangman'' is here equivalent to — rascal, rogue. (In Johnson's Diet, sub " Hangman,'' the present passage is cited to exemplify the word employed as a term of reproach.) It is at least cer- tain that hangman, having come to signify an executioner in general — (so in Fletcher's Prophetess, act iii. sc. 1, Dio- clesian, who had stabbed Aper, is called ** the hangman of Volusius Aper;" and in Jacke Drums Entertainement, Bra- MUCH ADO ABOUT NOTHING. 45 bant Junior, being prevented by Sir Edward from stabbing himself, declares that he is too wicked to live, — " And therefore, gentle knight, let mine owne hand Be mine own hangman^ Sig. H 3, ed. 1616)— was afterwards used as a general term of reproach (so in Guy Earl of Warwick, a Tragedy, printed in 1661, but acted much earlier ; " Faith, I doubt you are some lying hangman," i. e. rascal). Act V. so. 1. " And mack a push at chance and sufferance." This passage was misunderstood, till Mr. Collier ex- plained "push" to be an interjection (a form of pish), — referring to some of my editions for examples of its use. I subjoin two others ; " Fern. Deare friend — Fer. Push, meet me." The Tryall of Cheualry, 1605, sig. c 4. " Grac, But I prithee practise some milder behauiour at the ordinarie, be not al madman. Acut, Push, ile bee all obseruatiue," &c. Everie Woman in her Humor, 1609, sig. e 2. I may add ; " Well, jest on, gallants ; and, vncle, you that make a pish at the Black Art," &c. Day's Law Trickes, 1608, sig. i 2. 46 MUCH ADO ABOUT NOTHING. Act V. sc. 1. " Scambling, out-facing, fashion-mow^Vm^ boys." Here Mr. Knight, alone of the modern editors, follows the old copies in printing '* fashion-monging," — and rightly, for instances of that form are not wanting in our early authors: so in Wilson's Cohlers Prophecies 1594; " Then where will be the schollers allegories, Where the Lawier with his dilatories. Where the Courtier with his brauerie. And the Toaonej-monging mate with all his knauerie ?" Sig. B 3. Act V. sc. 1. " I will bid thee draw, as we do the minstrels." "Jls we bid the minstrels'' means, according to Malone, ** draw the bows of their fiddles ;" according to Mr. Collier, ** draw their instruments out of their cases." The latter seems the more probable explanation : compare Dekker's Satiromastix, 1602 ; " Haue the merry knaues pul'd their fiddle cases ouer their instruments eares ?" Sig. b 2. Act V. sc. 1. ^^ Dog. Come, you, sir; if justice cannot tame you, she shall ne'er weigh more reasons in her balance." This quibble between reasons and raisins is found again in Troilus and Cressida^ act ii. sc. 2. Indeed, it is as old as the time of Skelton, who says in his Speke, Parrot; MUCH ADO ABOUT NOTHING. 47 " Grete reysons with resons be now reprobitante, For reysons ar no resons, but resons currant." Worksj ii. 22j ed. Dyce (where these lines were for the first time printed).' See also Dekker's Owles Almanacke, 1618, sig. f 2. Act V. sc. 2. ^' I give thee the bucklers," i, e, I yield, lay aside all thoughts of defence. So Cot- grave, in his Diet, (sub Gaigne), has " Je te le donne gaigne . . . . I giue thee the bucklers,'''' Act V. sc. 2. " Tender's old coil at home." That, in such expressions, '* o/c?" is equivalent to " great, abundant," Vi^as never doubted, I suppose, by any one except the critic v^ho reviewed my ed. of Beaumont and Fletcher in Ch.wxion''^ Literary Register, — Cotgrave, in his Diet., has ; " Faire le diahle de vauuert. To play reaks, to keep an old coile, or horrible stirre." I know not if it has been observed that the Italians use (or at least for- merly used) " vecchio" in the same sense ; " Perch^ Corante abbandonava il freno, E dette un vecchio colpo in sul terreno." Pulci, — Morg. Mag. c. xv. st. 54. " E so ch' egli ebbe di vecchie paure." Id. c. xix. St. 30. (It is rather remarkable that Florio, in his Diet,, has not given this meaning of " vecchio.") 48 LOVE'S LABOUR'S LOST. Act i. sc. 1. " King. Well, sit you out: go home, Biron, adieu." In his note on these words Mr. Collier says, " The folio has ^jtt you out,' which may be right." Assuredly not : and, if the passage cited by Steevens from Bishop Sanderson be thought insufficient to shew that the quarto gives the true reading, here is another passage which puts the matter beyond, all doubt ; " Lewis. . . . King of Nauar, will onely you sit out ? Nau. No, King of Fraunce, my bloud's as hot as thine. And this my weapon shall confirme my words." The Tryall of Cheualry, 1605, sig. g 3. Act i. sc. 1. " Biron. How low soever the matter, I hope in God for high words. Long. A high hope for a low having : God grant us patience I Biron. To hear, or forbear hearing? Long. To hear meekly, sir, and to laugh moderately; or to forbear both." In this passage the old eds. give " A high hope for a low heaven.'' Theobald (whose alteration has generally been adopted) substituted "having" for *' heaven " love's labour's lost. 49 From Mr. Collier's Notes and Emendations^ p. 82, we learn that " the corrector of the folio, 1632, says that we ought to erase * heaven' for hearing : — ' A high hope for a low hearing : God grant us patience !' What Biron adds seems consequent upon it, when he asks whether the patience prayed for is to be granted, * to hear, or to forbear hearing.' " I shall not discuss the question whether Theobald's " having" be right or wrong (Mr. Collier, in his edition of Shakespeare, says, Theobald "was probably right;" in the Notes and Emendations he says, Theobald "was most likely wrong"). As to the Manuscript-corrector's emendation, "hearing," — I strongly suspect that it was made merely in consequence of his finding that word in the next speech. But is " hearing" the right reading in Biron' s speech? No ; it is manifestly wrong : what immediately follows proves that it is a mistake of the scribe or the printer for " laughing," — the excellent correction of Steevens, which Malone calls " plausible," and which the later editors do not even mention. Act i. sc. 1 . " Biron. Well, sir, be it as the style shall give us cause to climb in the merriness." " The manuscript-corrector has altered * clime in the merriness' of the old copies, to * chime in in the merriness,' in allusion to the laughable contents expected in Armado's letter, * in the merriness' of which the King and his com- panions hope to * chime in' or participate." Collier's Notes and Emendations, &c. p. 82. 50 love's labour's lost. But we can hardly doubt that on the word " style'^ a quibble was intended, which is destroyed by the Manu- script-corrector's alteration. Compare, in act iv. sc. 1,— " Boyet. I am much deceiv'd, but I remember the style. Prin. Else your memory is bad, going o'er it erewhile." So also, in Dekker's Satiro-mastix, 1602, Asinius Bubo, who has been reading a book, says of its author, " The whoorson made me meete with a hard stile in two or three places as I went ouer him.'' Sig. c 4. And in Day's He of Guls, 1606 ; ** But and you vsde such a high and eleuate stile, your auditories low and humble vnder- standings should neuer crall ouerH'' Sig. f. Act ii. sc. 1. " Now, madam, summon up your dearest spirits." *' To this line," says Mr. Collier {Notes and Emenda- tions, &c. p. 83), " Steevens has appended a note in which he observes, that * Dear, in our author's language, has many shades of meaning : in the present instance and the next, it appears to signify, best, most powerful.' The fact is (if we may trust the corrector of the folio, 1632) that * dearest' was a misprint for clearest ; and it is easy to see how cl might be mistaken for d. He gives the line : — ' Now, madam, summon up your clearest spirits ;' that is, her brightest and purest spirits, that the Princess might adequately discharge the important embassy en- trusted to her by her father." But we are not to " trust the corrector of the folio, 51 1632," when he rashly alters " dearest" to " clearest'*^ only because, during his time, the former word had become rather obsolete in the sense which it bears here. That *' dearest" is the true lection, and that Steevens explained it rightly, we have proof (if proof were required) in a line of Dekker, who applies to ** spirits" an epithet synony- mous with " dearest," " Call vp your lustiest spirits ; the lady's come." If it be not goodj the Diuel is in it, 1612, sig. c 3. Act ii. so. 1. " Eos. No poiiity with my kuife." The double negative of the French, with a quibble. (It occurs again in act v. sc. 2.) We occasionally meet with it in passages of our old plays where no quibble is intended. So in Jack Drums Entertainment ; " I will helpe you to a wench, Mounsieur. Moun. No point, a burne childe feere de fire." Sig. c. ed. 1616. and in The Wisdome of Doctor DodypoU, 1600; "Vat, you go leave a de bride ? tis no point good fashion." Sig. D 2 : and sometimes we find it when the speakers are Englishmen. Act ii. sc. 1. " His tongue, all impatient to speak and not see, Did stumble with haste in his eye-sight to be ; AU senses to that sense did make their repair, To feel only looking on fairest of fair.'^ 52 love's labour's lost. On the first line of this passage the following notes are found in the Variorum Shakespeare : — " That is — his tongue being impatiently desirous to see as well as speak." Johnson. "Although the expression in the text is extremely odd, I take the sense of it to be, that — his tongue envied the quickness of his eyes, and strove to be as rapid in its utterance, as they in their perception. Edinburgh Maga- zine, Nov. 1786." Steevens. Now, it would be difficult to say which of these notes is least to the purpose. The context distinctly shews that the meaning is — His tongue, not able to endure the having merely the power of speaking without that of seeing. Again, on the fourth line we find, ibid. : — " Perhaps we may better read : * To feed only by look- ing.' " Johnson. There is no necessity for any alteration. The meaning is — That they might have no feeling but that of looking, &c. Act iii. so. 1. " Arm. How hast thou purchased this experience? Moth. By my penny of observation." The old eds. have " penne of observation." Hanmer, whose reading has been adopted by all later editors, altered " penne"" to **penny." — But the manuscript-corrector of the folio, 1632, reads, " By mj pain of observation," — that is, says Mr. Collier (Notes and Emendations, &c. p. 85), " by the pains he had taken in observing the characters of men and women. What most militates against this alteration is the figurative use of the word 'purchased,' for obtained, love's labour's lost. 53 by Armado." Instead of ** What 7nost militates agaiitst this alteration," Mr. Collier ought to have said, " What utterly annihilates this alteration." Act iii. sc. 1. " Dread prince o^ plackets y Concerning ^^ placket,'' see Steevens's Amnerian note on King Lear, act iii. sc. 4 ; and Diet, of Arch, and Prov, Words, by Mr. Halliw^ell ; who observes; '' Nares, Dyce, and other writers, tell us Si placket generally signifies a pet- ticoat, but their quotations do not bear out this opinion." I still think that in the quotations referred to, as well as in the present passage, ^^ placket'' is equivalent to petticoat. A writer of the age of Charles the Second uses ^^ plackets" in the sense of aprons (perhaps oi petticoats) ; " The word Love is a fig-leaf to cover the naked sense, a fashion brought up by Eve, the mother of jilts : she cuckolded her husband with the Serpent, then pretended to modesty, and fell a making plackets presently." Crowne's Sir Courtly Nice, actii. p. 13, ed. 1685. Act iv. sc. 1. A stand where you may make ihe fairest shoot. Prin. I thank my beauty, I am fair that shoot, And thereupon thou speak'st the fairest shoot. * * * * * 'Not fair? alack for woe ! For. Yes, madam, ^«r. Prin. Nay, never paint me now: Where fair is not, praise cannot mend the brow. 54 love's labour's lost. Fair payment for foul words is more than due. For. Nothing hut fair is that which you inherit. Prin. See, see ! my beauty will be sav'd by merit. O, heresy in fair j fit for these days I A giving hand, though foul, shall haxe fair praise." " The corrector of the folio, 163^, has it, — • ' O, heresy in faith, fit for these days !' which is probably right, although Shakespeare, like many other poets of his time, uses 'fair' {or fairness or beauty,'' Collier's Notes and Emendations, &c. p. 87. Surely the context proves the Manuscript-corrector to be altogether wrong. Here /air* is, of course, equivalent to — beauty ; in which sense Milton (though his editors do not notice it) uses the word in Paradise Lost ; " no fair to thine Equivalent or second." Book ix. 608. Act iv. sc. 2. " Dull. If a talent be a claw, look how he claws him with a talent." To the examples of talent used for talon the following may be added. " Or buying armes of the herald, who giues them the * Incredible as it may seem, the reviewer of my ed. of Beaumont and Fletcher, in a periodical called Churton's Literary/ Register, denied that fair ever meant — beauty. The following couplet in Sylvester's Du Bartas would be alone sufficient to determine that it did : " Causing her sit in a rich easie chaire, Himselfe, at ease, views and reviews her /aire" [the original having "ses diuines beautez'"']. Bethulia's Rescue, p. 502, ed. 1641. LOVE S LABOUR S LOST. DO Lion without tongue, taile, or talents.'' Nash's Pierce Pennilesse his Supplication, sig. f 4, ed. 1595. " The Griffin halfe a bird, and halfe a beast, Strong-arm'd with mightie beak, tallents, and creast." Baxter's Sir P. Sidneys Ourania^ 1606, sig. h. " A second Phoenix rise, of larger wing, Of stronger talent, of more dreadfull beake," &c. Dekker's TTAore of Babylon^ 1607, sig. f 2. Act iv. sc. 3. " Biron [aside']. O rhymes are gards on wanton Cupid's hose ; . Disfigure not his shape."'' So Mr. Collier in his edition of Shakespeare (from a MS. correction in Lord Ellesmere's copy of the first folio) for the misprint of the old copies, " shop." " A question has been agitated whether we ought to read shape or slop. Theobald was in favour of slop, and his conjecture is confirmed by the corrector of the folio, 1632." Notes and Emendations, &c. p. 89. I nevertheless am inclined to think that the right read- ing is " shape ;" in the first place, because the poet would hardly have used the word slop immediately after hose ; and secondly because, in Fletcher's Beggars' Bush, act v. sc. 1, the first folio has, — " who assur'd me, Florio Liv'd in some merchant's shop" — a misprint which, in the second folio, is properly altered to ** shape." {Shape was often anciently spelt shap, — a form occa- 5C^ love's labour's lost. sionally found even in mss. of Shakespeare's time : hence the greater probability of the word being mistaken by a compositor for shop.) Act V. sc. 1. " For what is inward between us, let it pass : — ^I do beseech thee, remember thy courtesy ; — I beseech thee, apparel thy head." So the passage is given in all copies ancient and modern. Malone saw that the addition of the word " not" was absolutely necessary for the sense ; and yet he did not venture to introduce it into the text ! No- thing can be more evident than that Shakespeare wrote, ** remember not thy courtesy.'* Holofernes had taken oif his hat ; and Armado condescendingly says, — Don't stand on courtesy, apparel thy head. Act V. sc. 2. " A lady walVd about with diamonds I" It may be noticed that Marlowe, in his Dido, had made Ganymede describe himself as " walVd in with eagle's wings," Works, ii. SOQ, ed. Dyce. Act V. sc. 2. " Ros. 'Ware pencils ! How? let me not die your debtor," &c. So the line stands in all editions. I have no doubt that we ought to print, " 'Ware pen- cils, ho .'" — the ** how" of the early copies being merely love's labour's lost. 57 the old spelling of " hoJ" It would be easy to adduce many instances of that spelling. So, in the last scene of The Taming of a Shrew ^ ed. 1594, the Tapster, finding Sly asleep, calls out, " What how \i. e. ho], Slie ! awake for shame" (which in the later eds. is erroneously altered to " What nowy' &c.). So too in The History of Stukeley, 1605, " Are the gates shut alreadie? open how [i. e. ho !]." Sig. E 3. and afterwards, "Some water, water howe [i, e, ho!]." Sig. L. See also my remarks on Anthony and Cleopatra, act i. sc. 2, in this volume. In the present passage ** ^o" is, of course, equivalent to cease, stop, — a meaning which formerly it often bore. Act V. sc. 2. ^^ King. Farewell, mad wenches : you have simple wits. Prin, Twenty adieus, my frozen Muscovites. Exeunt King, Lords , &c." So the modern editors. But they ought to have fol- lowed the old copies, which here {and here only) have, for the sake of exact rhyme, " Muscpvits." Those who are well read in our early poets will re- collect the strange liberties which some of them take with words when a rhyme is required. Act V. sc. 2. " Biron. This jest is dry to me. — Fair, gentle sweet, Your wit makes wise things foolish." H 58 love's labour's lost. " Fair'" (which Malone altered to " My," and which Mr. Knight rejects) is adopted from the second folio by Mr. Collier ; and in all probability it was the word here used by Shakespeare. So in Day's Law-Trickes, 1608, we find, " God saue, faire sweete,'' Sig. b 4. Act V. so. 2. " Judas was hang'd on an elder." See Marlowe's Jew of Malta (and note), Works, i. 329, ed. Dyce. . Pulci has ; Era di sopra a la fonte un carrubbio, JO arbor ^ si dice, ove s' impicco Givda,"" &c. Morgante Mag. c. xxv. st. 77. Act V. sc. 2. " King, The extreme jaarfe of time extremely form [the quarto and the folio " formes"] All causes to the purpose of his speed ; And often, at his very loose, decides That which long process could not arbitrate." " The passage," observes Mr. Collier, " is corrupt, and the manuscript alteration made in the folio, 1632, thus sets it right, and renders the sense distinct ; ' The extreme jyarim^ time expressly forms All causes,' &c/' Notes and Emendations y &c. p. 96. love's labour's lost. 59 The Manuscript-corrector's alteration is ingenious : that it restores the original reading, I am far from convinced. Strange to say, the commentators seem to have been puzzled by the word " loose.'" The only note on that word in the Variorum Shakespeare is the following one ; " At his very loose may mean at the moment of his part- ing, i. e, of his getting loose, or away from us. So, in some ancient poem, of which I forgot to preserve either the date or title [the poem is Drayton's Fifth Eglogue, p. 449, ed. 1619] ; ' Envy discharging all her pois'nous [poys'ned] darts, The valiant mind is temper'd with that fire, At her fierce loose that weakly never parts [starts], But in despight doth force her to retire.' " Steevens. Loose is properly the act of discharging an arrow ; '* the archers terme, who is not said to finish the feate of his shot before he giue the loose, and deliuer his arrow from his bow." Puttenham's y^r^e of English Poesie, 1589, p. 145. Compare y^ Warning for Faire Women, 1599; " Twice, as you see, this sad distressed man, The onely marke whereat foule Murther shot, Just in the loose of enuious eager Death, By accidents strange and miraculous, Escap't the arrow aymed at his hart." Sig. E 3. and Beaumont and Fletcher's Cupid's Revenge ; " But he shall know ere long that my smart loose Can thaw ice, and inflame the wither'd heart Of Nestor." Act ii. sc. 1. 60 love's labour's lost. In a famous passage of Midsummer-Night's Dream we have the verb, — ** loos' d'' (on which the commentators give no note) ; " And loos' d his love-shaft smartly from his bow, As it should pierce a hundred thousand hearts." Act ii. sc. 2. ^' Descocher une jieiche. To shoote, loosse, or send an arrow from a bow." Cotgrave's Diet, 61 A MIDSUMMER^ NIGHT'S DREAM. Act i. sc. 2. " I could play Ercles rarely, or a part to tear a cat in, to make all splits The expression " make all split,'' and the similar one, *' let all split,'' are often met with in early writers. — It has not, I believe, been remarked that they are properly nautical phrases: ** He set downe this period with such a sigh, that, as the Marriners say, a man would haue thought al would have split againe." Greene's Neuer too late, sig. G 3, ed. 1611. Act ii. sc. 1. " The cowslips tall her pensioners be ; In their gold coats spots you see," &c. The Manuscript-corrector of the folio, 163^, alters " tall" to *' all," and ** coats" to " cups," See Notes and Emendations, &c, p. 100. The second of these alterations may be right. But the first is more than questionable ; and when Mr. Collier defended it by observing that " cowslips are never * tall,' " he ought to have considered, that, however diminutive they may appear to himself, as he gathers them in those sylvan scenes to which (unfortunately for his friends and acquaintances) he has now withdrawn, they might never- 6^ A midsummer-night's dream. theless seem " tall" to Titania and her elves in the Athe- nian forest; just as the tulip was " lofty'" to certain other fairies, who held their revels in Kensington Gardens, before nature (or rather art) had produced people of fashion ; " Beneath a lofty tulip's ample shade Sat the young lover and th' immortal maid."* In a note on the present passage of Shakespeare, the following stanza from Drayton's Nymphidia is not inaptly cited by Johnson ; " And for the Queen a fitting bower, Quoth he, is that fair cowslip-fiowevj On Hipcut-hill that groweth ; In all your train there's not a fay That ever went to gather May, But she hath made it in her way The tallest there that groweth." Act iv. sc. 1. "Her dotage now I do begin to pity; For meeting her of late, behind the wood. Seeking sweet savours for this hateful fool," &c. So Malone, Mr. Knight, and Mr. Collier, read with the folio and Roberts's quarto. The other quarto has " favours ;" which (though Mr. Collier says " ^savours'' seems preferable") I think decidedly right. Titania was * Tic'kell's Kendngton Gardens. A midsummer-night's dream. 63 seeking flowers for Bottom to wear as favours : compare Greene ; " These [fair women] with syren-like allurement so entised these quaint squires, that they bestowed all their Jlotvers vpon them iox fauoursj" Quip for an Vpstart Courtier f sig. b 2, ed. 1620. 64 THE MERCHANT OF VENICE. Act ii. sc. 5. " Fast hind J fast find ; A proverb never stale in thrifty mind." " The proverb with which the speech ends is given [by the Manuscript-corrector of the folio, 163^] differently both from quartos and folios ; for instead of ' Fast bind, fast find,' we have ' Safe bind, Safe find.' " Collier's Notes and Emendations, &c. p. 115. The Manuscript-corrector seems to have made the change " for variation's sake." — Compare Cotgrave's Diet, sub Bon, "Bon guet chasse malaventure : Pro. Good watch preuents misfortune ; fast hind, fast find, say we." Act ii. sc. 9. " Enter a Messenger. Mess. Where is my lady ? Por. Here: what Avould my lordf* Mr. Collier, in his ed. of Shakespeare, having observed, " It is clear that he [the Messenger] was not a mere ser- vant, not only from the language put into his mouth, but because, when he asks, ' Where is my lady ? ' Portia re- plies, * Here ; what would my lord ? ' The Messenger was a person of rank attending on Portia," — I maintained that the reply of Portia was nothing more than a sportive re- THE MERCHANT OF VENICE. 65 joinder to the abrupt exclamation of the Messenger, and I cited similar passages from Shakespeare's First Fart of Henry IV. act ii. sc. 4, and from his Richard IF act v. sc. 5 {Remarks on Collier's and Knight's editions of Shake- speare, p. 55). I have since found the same sort of plea- santry in another dramatist ; " Enter Peter ivith a candle. Pe. Where are you, my Lord ? Hog. Here, my Lady.'' The Hogge hath lost his PearUy by R. Tailor, 1614, sig. h. Act iii. sc. 1. " it was my turquoise." " Men," says Greene, *' weare not jems onely to please the sight, but to be defensiues by their secret operations against perils." Farewell to Follie, sig. b 2, ed. 1617 : and Steevens's note has made it plain that Shylock valued his turquoise, not only as being the gift of Leah, but on ac- count of the imaginary virtues ascribed to the stone. The following lines of Donne may be added to Steevens's illus- trations of the passage ; " As a compassionate Turcoyse, which doth tell, By looking pale, the wearer is not well.'' Anat. of the World,— Poems, p. 247, ed. 1633. Act V. sc. 1. "look, how the floor of heaven Is thick inlaid with patterns of bright gold." 66 THE MERCHANT OF VENICE. So Mr. Collier in his Shakespeare , adopting the read- ing of the second folio. That of the first folio, and of Heyes's quarto, is " pattens." The other quarto has " pat- tents." Though Mr. Hunter {New Illustr, of Shakespeare, i. 318) says, that " the constellations may not unsuitably be spoken of as patterns, just as we speak of the pattern of mosaic work, or the pattern of a flowered or spotted da- mask," I still think (see my Remarks on Collier's and Knighfs editions of Shakespeare, p. 59) that " patterns" is a gross misprint, and that we must undoubtedly read "patines," or "pattens," or "pattents" (it matters little which ; see Coles's English-Latin Diet, in " Patine ;" Todd's Johnson's Diet, in " Paten ;" and, for an example of "pattent," Hunter's New Illust, of Shakespeare, ii. 349). The poet means that the floor of heaven is thickly in- laid with plates, or circular ornaments, of bright gold. Compare Sylvester's Du Bartas; " Th' Almighties finger fixed many a million Oi golden scutchions [the original has ^^platines dorees''^'] in that rich pavillion." The Fourth Day of the First Week, p. 33, ed. 1641. " That sumptuous canapy, The which th' un-niggard hand of Majesty Poudred so thick with shields [the original has " escmsons'^Jl so shining cleer," &c. Id. p. 34. Act V. sc. 1. " the moon sleeps with Endymion.''^ THE MERCHANT OF VENICE. 67 The very same words occur in a writer with whose works Shakespeare, we know, was well acquainted ; " The moon sleeps with Endymion every day." Marlowe's Ovid's Megies, — Works, iii. 136, ed. Dyce. 68 AS YOU LIKE IT. Act iii. sc. 5. " The common executioner, Whose heart th' accustom'd sight of death makes hard, Falls not the axe upon the humbled neck. But first begs pardon : will you sterner be Than he that dies and lives by bloody drops ?" " Perhaps ' dies' is to be taken in the sense of causes to die ; but the corrector of the folio, 1632, removes all doubt, if we may take his representation of the original text, by substituting kills, . . . Can dines have been the true word?" Collier's Notes and Emendations, &c. p. 134. The old text must be right, because **dies" is evi- dently put in opposition to " lives ;" and the Manuscript- corrector's alteration must be wrong, because it destroys the antithesis. "I am afraid," says Steevens, *' our bard is at his quib- bles again. To die means as well to dip a thing in a colour foreign to its ow7i, as to expire. In this sense, con- temptible as it is, the executioner may be said to die as well as live by bloody drops ;" and he adduces from early writers several instances of quibbles on the word die, I am strongly inclined to agree with Steevens, In the following passage (which escaped his notice) " dying" seems to be used just as Shakespeare, according to the above explanation, has used " dies" (for we can hardly understand " dying" as equivalent either to the dying of others or to causing to die) ; AS YOU LIKE IT. 69 " Turbine the Dyer stalkes before his dore^ Like Caesar, that by Dying oft did thriue ; And though the Beggar be as proud as poore, Yet (like the mortifide) he dyes to Hue." Davies's Scourge of Folly, IGll, Epig. 273. Act V. sc. 4. ** His crown bequeathing to his banish'd brother, And all their lands restor'd to him again That were with him exil'd." So the old copies. The Manuscript-corrector " also introduces an emen- dation into the last line but two of the Second Brother's speech : — * restor'd to them again That were with him exil'd.' The old text is * him' for tJiem, which may "by ingenuity be reconciled to propriety ; but them makes the passage more easily understood, which here, at least, in the wind- ing up of the plot, must have been a main object with the poet." Collier's Notes and Emendations, &c. p. 140. Mr. Collier will excuse me when I say that this is not the only part of his book which is calculated to mislead the reader. Who would not suppose, from the language used above, that the lection ^HheirC was now for the first time brought forward? The fact is, that, Mr. Collier alone excepted, every recent editor has printed ** them," without even thinking it necessary to notice the obvious misprint of the old copies. 70 THE TAMING OF THE SHREW. Induction, sc. 1. " Go by, S. Jeronimy." " Sly's exclamation from * The Spanish Tragedy,' * Go by, S. Jeronimy,' has given commentators some trouble, in consequence of the capital S. before * Jeronimy.' It seems to be merely a printer's blunder (who might fancy that St. Jerome was alluded to), and so the old corrector treated it, by unceremoniously putting his pen through it." Collier's Notes and Emendations, &c. p. 141. But is the Manuscript-corrector to be justified in treat- ing the " S." so unceremoniously ? See my Remarks on Collier's and Knight's editions of Shakespeare, p. Q5. Act i. sc. 1. " Or so devote to Aristotle's checks'' " What are * Aristotle's checks V Undoubtedly a mis- print for Aristotle's Ethics, formerly spelt ethicks, and hence the absurd blunder" [which the Manuscript-cor- rector of the folio, 1632, sets right]. Collier's Notes and Emendations, &c. p. 144. See also '* Introduction" to that volume, p. xi. Blackstone conjectured " ethics" many years ago ; since which time the whole reading world, — with the exception of Shakespeare's editors, — has been convinced that it is the true lection. THE TAMING OF THE SHREW. 71 Act iv. sc. 2. " I spied An ancient angel coming down the hill." " The word ' angel' has produced various conjectural emendations, the one usually adopted being that of Theo- bald, who proposed to read * ancient engle ,-' but we are to recollect that the person spoken of was on foot, and we have no doubt that the word wanting [wanted ?] is ambler, which we meet with in the margin of the corrected folio, 1632. As to engle or ingle, which means a person of weak understanding, how was Biondello to know that ' the Pe- dant' was so, by merely seeing him walk down the hill ? he could see at once that he was an ambler. How ambler came to be misprinted ^ angel' is a difficulty of perpetual recurrence." Collier's Notes and Emendations, Sec. p. 151. I never felt quite satisfied with the emendation " en- ghle" (ingeniously as it is supported by Gifford, note on B. Jonson's Works, ii. 430) ; nor does that of the Manu- script-corrector appear to me so certain as it does to Mr. Collier. After all, is " angel'' the right reading (though not in the sense of messenger, which is quite unsuited to the pas- sage), — " an ancient angeV being equivalent to an ancient worthy, or simply to an old fellow ? I must not be under- stood as answering this query in the affirmative when I cite from Cotgrave's Diet, ^^ Angelot a la grosse escaille. An old Angell; and by metaphor, a fellow of th' old, sound, honest, and worthie stamp." n ALL'S WELL THAT ENDS WELL. Act i. sc. 3. " Diana, no queen of virgins, that would suffer her poor knight to be surprised, without rescue, in the first assault, or ransom afterward." The words " Diana, no" and " to be" were supplied by Theobald, and have been adopted by all succeeding editors. In my Remarks on Collier's and Knighfs editions of Shakespeare^ p. 69, I cited a passage from Drayton, in support of my assertion that Theobald had unnecessarily introduced the words " to be." That quotation, I under- stand, has been considered as insufficient to settle the point ; and I now subjoin three other passages, which will leave no doubt in the mind of any reader that, according to the phraseology of our early authors, ** to be" is a super- fluous addition. " If I in this his regall royall raigne Without repulse should suffer him remained King Carassus, — A Mirrourfor Magistrates, p. 188, ed, 1610. " By which her fruitful vine and wholesome fare She suffered spoiVd, to make a childish snare." Marlowe's Hero and Leander, — Works, iii. 61, ed. Dyce. " Least we should be spotted with the staine of in- gratitude, in suffering the princesse iniury vnreuenged.'' Greene's Penelope's Weh, sig. d 3, ed. 1601. all's well that ends well. 7ji Act ii. sc. 1. " Hel What I can do, can do no hurt to try, Since you set up your rest 'gainst remedy. He that of greatest works is finisher, Oft* does them by the weakest' minister: So holy writ in babes hath judgment shown, When judges have been babes. Great floods have flown From simple sources ; and great seas have dried, When miracles have by the greatest been denied. Oft expectation fails, and most oft there Where most it promises ; and oft it hits, Where hope is coldest, and despair most shifts^ In the last line the misprint of the old copies, " shifts," was altered by Pope to " sits.'' Mr. Collier in his edition of Shakespeare gave ^'Jits," from a manuscript correction in a copy of the first folio belonging to Lord Ellesmere : "Jits'' is also the reading of the Manuscript-corrector of the folio, 16S2 ; and doubtless the true one. Mr. Knight puts back into the text the long-discarded " shifts ;" and, after telling us that it means " resorts to expedients, depends upon chances, catches at straws," — he proceeds thus ; " Why, then, should not the word stand ? A rhyme, it is said, is required to hits. Is it so ? Have we a rhyme to this line ? — ' Oft expectation fails, and most oft there.' The couplets are dropped; and we have three lines of blank verse. As well that as one line without a corre- sponding line." Now, if Mr. Knight had been more familiar with our early dramatists, he would have known that, in such speeches, " one line without a corresponding line" is not unusual, just before the closing couplet. So 74 ALL*S WELL THAT ENDS WELL. in The Travailes of the Three Shirley s, 1607, by Day, W. Rowley, and Wilkins ; " Good mindes know this, imprisonment's no shame, Vnlesse the cause be foule which blots the name. Then aU the griefes in my remembrance bee. Is that my father's eyes should weepe for mee And my misfortune : for mine owne mishapps Are to my minde as are heauen's thunder- claps, Who chares the ayre offowle infection^ And in my thoughts do onely publish this, Affliction's due to man as life and sin is." Sig. G 4. Act V. sc. 3. " Count. Which better than the first, O dear Heaven, bless! Or, ere they meet, in me, O nature, cesseP^ So the folio. Malone and Mr. Collier print " cease ;" and we may well wonder that they should have rejected the older form of the word for one which destroys the rhyme. Mr. Knight rightly retains *' cesse^^ and quotes an instance of it from Chaucer's Troilus and Cressida, — which is going rather too far back : the fact is, Shake- speare found it in various works that were to him of recent date. E. g. in Phaer and Twyne's jEneidos ; " This spoken, with a thought he makes the swelling seas to cesse. And sunne to shine, and clouds to flee, that did the skies op- presse." B. I, Sig. B iii. ed. 1584. 75 TWELFTH-NIGHT. Act i. sc. 3. " Sir And. Ay, 'tis strong, and it does indifferent well in a flame-coloured stock." " Pope was wrong in his change respecting * flame- colour'd stock : * the old editions have it * dam'd colour'd stock,' which the manuscript-corrector informs us ought to be * dun-co\o\M'*di stock.* " Collier's Notes and Emen- dations , &c. p. 172. But it does not follow that **Pope was wrong, ^* because the Manuscript-corrector hit on an alteration different from his. (When, in a passage of this very play, act ii. sc. 5, " And with what wing the stallion checks at it," the Manuscript-corrector substitutes '^ falcon" for "stallion," Mr. Collier, I presume, will allow that there at least he is quite *^ wrong" and that Hanmer, who conjectures " stannyel," is perfectly right.) That Sir Andrew, a gal- lant of the first water, should ever dream of casing his leg in a " c?w7i-coloured stock," is not to be supposed for a moment. The epithet *^ flame-coloured" was frequently applied to dress. In our author's Henry IF* Part First, act i. sc. 2, mention is made of a " wench in flame-coloured taffeta ;" in The Enventorey of all the aparell of the Lord Admeralles men, taken the ISth of Marche, 1598, we find, " j flame collerde dublet pynked." Malone's Shakespeare (by Boswell), iii. 315 ; and in Nabbes's Microcosmus (see the Dram, Pers.) both Fire and Love wear *^ flame-coloured" habits. 76 TWELFTH-NIGHT. Act iii. sc. 4. " Oli. I have said too much unto a heart of stone, And laid mine honour too unchary out^ In this passage " out" is Theobald's correction for *' on't" of the old editions, — a correction adopted by all succeeding editors, except Mr. Collier and Mr. Knight. Mr. Collier's note is ; " on't] L e. On the heart of stone : * bestowed my honour too incautiously on a heart of stone.' Theobald changed *on't' to out, but without reason." Mr. Knight's is ; " Unchary on't. So in the original. The or- dinary reading is * unchary out,' Douce is unwilling, as we are, to disturb the old reading. Olivia has laid her honour too unchary (uncharily) upon a heart of stone." Though what I say will perhaps carry little weight with Mr. Collier, because I did not happen to exist about the year 1632; and though Mr. Knight is averse to the voice of criticism, whether it proceeds from the living or the dead; — I must yet exclaim against their thrusting back into the text an obvious error of the press. The misprint of " on't" for " out"" is common enough. So the quarto 1640 of Fletcher's Bloody Brother, act iv, sc 1, has, — " Princes may pick their suffering nobles on't, And one by one employ them to the block," &c. — where the other old copies have, as the sense requires, " outJ" So, too, in Fletcher and Shakespeare's Two Noble Kinsmen, act i. sc. 4, the quarto 1634 has "Y'are ont of breath," where the second folio (the play is not in the first folio) gives ** out,'' With the passage of Shakespeare now under considera- tion compare the following lines by a nameless dramatist ; TWELFTH-NIGHT. 77 Keepe her from the Serpent, let her not gad To euerie Gossips congregation, For there is blushing modestie laide outj" &c, Euerie Woman in her Hujnor, 1609, sig. h 3. Act V. so. 1, '' Clo. Marry, sir, lullaby to your bounty, till I come again." In The Shakespeare Society's Faipers^ vol. iii. ^b^ Mr, Halliwell observes that ** lullahy is sufficiently unusual as a verb to justify an example ;" and he adduces one. Here is another ; " Sweet sound that all mens sences lullabieth." Anthony Copley's Fig for Fortune ^ 1596, p. 59. Act v. sc. 1. " Re-enter Fabian with Malvolio." ** When Malvolio is brought upon the scene by Fabian, we meet with a very particular stage-direction, obedience to which must have been intended to produce a ludicrous effect upon the audience : Enter Malvolio , as from priso7i, with straw about him ; in order to show the nature of the confinement to which the poor conceited victim had been subjected." Collier's Notes and Emendations ^ &c. p. 180. On the modern stage, Malvolio, in this scene, always enters with some " straw about him ;" and such probably has been the invariable custom since the play was first produced. I well remember that, when Twelfth-Night 78 TWELFTH-NIGHT. was revived at Edinburgh* many years ago, Terry, who then acted Malvolio (and acted it much better than any one I have since seen in the part) had " straw about him," on his release from durance : nor is the straw omitted by the present representative of Malvolio at the Princess's Theatre. * That revival is immortalised by Sir W. Scott : " Flora Mac-Ivor bore a most striking resemblance to her brother Fergus ; so much so, that they might have played Viola and Sebastian, with the same exquisite eflfect pro- duced by the appearance of Mrs. Henry Siddons and her brother [William Murray] in those characters." Waverlet/f vol. i. 317, third ed., 1814. THE WINTER'S TALE. Act i. sc. 2. " Leon. To hide uponH^ — thou art not honest ; or, If thou inclin'st that way," &c. Here " To hide upon't'^ is equivalent to — My abiding opinion is. Compare Beaumont and Fletcher's King and No King, act iv. sc. 3 ; " Captain, thou art a vaKant gentleman ; To abide upon'tj a very valiant man :" and Potts's Discoverie of Witches in the Countie of Lan- caster, 1613; "the wife of the said Peter then said, to abide upon it, I thinke that my husband will neuer mend," &c. Sig. T 4. Act iv. sc. 3. " Proserpina, For the flowers now, that, frighted, thou let'st fall 'From Dis's waggon !'' {i. e, Dis's chariot.) So Barnaby Barnes in his Divils Charter, 1607 (which in all probability preceded The Winter's Tale) ; " From the pale horror of eternall fire Am I sent with the wagon o/'blacke Z>?5," &c. Sig. M 2. 80 THE winter's tale. Act iv. sc. 3. " Pol. This is the prettiest low-born lass, that ever Ran on the green-sord.*' So all the old copies. The modern editors print ^' green- sward;" but the other was undoubtedly Shakespeare's form of the word. Milton also wrote it " sord;'' " I' the midst an altar as the land-mark stood, Rustic, of grassy sord.''' - Par. Lost, xi. 433. (where Fenton substituted " sod ;" but Newton and Todd restored the old reading.) And Pope, in one of his earliest pieces, has, — " So featly tript the light-foot ladies round, The knights so nimbly o'er the greensword bound," &c. January and May, — (Tonson's Miscellany, 1709, vol. vi., where it originally appeared). Coles, in his English-Latin Diet, (sub Sivord), gives ; " The green sword, Cespes.'' Act V. sc. 3. " Leon. Let be, let be ! Would I were dead, but that, methinks, already — What was he that did make it ? — See, my lord. Would you not deem it breath'd, and that those veins Did verily bear blood ?" "One of those highly -important completions of the old, and imperfect, text of Shakespeare, consisting of a whole line, where the sense is left unfinished without it, here occurs. Warburton saw that something was wanting, THE winter's tale. 81 but in note 3 it is suggested that Leontes in his ecstasy might have left his sentence unfinished: such does not appear to have been the case [The Manuscript- corrector of the folio, 1 6321 thus supplies a missing line, which we have printed in Italic type :— ' Let be, let be ! Would I were dead, but that, methinks, already / am but dead, stone looking upon stone. What was he that did make it ? ' &c. But for this piece of evidence, that so important an omis- sion had been made by the old printer, or by the copyist of the manuscript for the printer's use, it might have been urged, &:c. . . . However, we see above, that a line was wanting, and we may be thankful that it has been fur- nished, since it adds much to the force and clearness of the speech of Leontes." Collier's Notes and Emendations, &c. p. 197. Mr. Collier is mistaken in saying that Warburton con- sidered the text as defective : Warburton's note runs thus ; " The sentence completed is ; * — but that, methinks, already I converse with the dead.' But there his passion made him break o^." Still, there is room to suspect that something has dropt out : and, on first reading the new line, — " / am but dead, stone looking upon stone,'' — it appeared to me so exactly in the style of Shakespeare, that, like Mr. Collier, I felt " thankful that it had been furnished." But presently I found that it was too Shake- spearian. L 82 THE winter's tale. Only a few speeches before, Leontes has exclaimed ; " O, thus she stood, Even with such life of majesty (warm life, As now it coldly stands), when first I woo'd her. I am asham'd : does not the stone rebuke me. For being more stone than it ? — O royal piece. There's magic in thy majesty, which has My evils conjur'd to remembrance, and From thy admiring daughter took the spirits, Standing like stone with thee /" Now, which is the greater probability ? — that Shakespeare (whose variety of expression was inexhaustible) repeated himself m the line, — "/ am but dead, stone looking upon stone'' ? or that a reviser of the play (with an eye to the passage just cited) ingeniously constructed the said line, to fill up a supposed lacuna ? The answer is obvious. 83 KING JOHN. Act i. sc. 1. " With that half-face would he have half my land." In my Remarks on Collier s and Knighfs eds, ofShake- peare, p. 87, I endeavoured to shew that Mr. Collier had injudiciously retained the reading of the old copies, — " With ^aZ/" that ^ce would he have half my land," — and I urged that "^aZ/" that /ace" was merely a transposi- tion made by a mistake of the original compositor. To what I have there said, let me add, — that a question in Fletcher's Love's Pilgrimage, act ii. sc. 4, — " Where's the falconer's half-dog he left ?" stands thus nonsensically in the first folio, by an acci- dental transposition, — " Where's the Aa// Falconer's dog he left?" Act i. sc. 1. ^^ Lady F. King Richard Coeur-de-lion was thy father; By long and vehement suit I was seduc'd To make room for him in my husband's bed: — Heaven lay not my transgression to my charge! — Thou art the issue of my dear offence, Which was so strongly urg'd, past my defence," 84 KING JOHN. So the passage used to be read from the time of Rowe (who, in the last line but one, altered " That art" of the old copies to " Thou art"), till Mr. Knight and Mr. Col- lier published their editions, where the close is exhibited thus ; " Heaven! [the folios have no point here"] lay not my transgression to my charge, That art the issue of my dear offence," &c. " Lady Faulconbridge," observes Mr. Knight, ** is not invoking Heaven to pardon her transgression ; but she says to her son, — for Heaven's sake, lay not (thou) my trans- gression to my charge that art the issue of it." Mr. Col- lier's explanation makes the old lady less of a hardened sinner : according to him, she means ; " Let not heaven and you, that art the issue of my dear offence, lay the transgression to my charge." Mr. Knight thinks that the reading of the old copy is " in Shakespeare's manner ;" Mr. Collier that " no alteration is required," That these gentlemen should ever have been able to satisfy themselves with such interpretations, — that Mr. Knight should have brought himself to believe that " Heaven! lay not my transgression to my charge" could signify, " For heaven's sake, lay not thou my trans- gression to my charge," and Mr. Collier seriously to opine that it was equivalent to " Let not heaven and you lay," &c., — is to me a matter of downright astonishment. No words were more frequently confounded by our early compositors than **thou" and "that." The reason is obvious: — "thou" was often written "y," and "that" often written " y." (We frequently find those abbreviated KING JOHN. 85 forms preserved in print : so the first folio has, in the pre- sent tragedy, — " Eng. France, y shalt rue this houre within this houre. BasL Old Time the clocke setter, y bald sexton Time," &c.' Act iii. sc. 1.) Act ii. sc. 1. " Even till that England, hedgd in with the main,'' &c. Compare Greene's Spanish Masquerado, 1589; "Seeing how secure we [i. e, the English] slept for that wee were hedged in with the sea,' Sec, Sig. b 4. Act ii. sc. 1. " All preparation for a bloody siege. And merciless proceeding by these French, Comfort your city's eyes," &c. So the old copies. — " It has been urged by those who wished to adhere to the text of the folios, as long as it was unimpugned by any old authority, that * comfort' was here used ironically : Rowe did not think so, when he printed confront; but the corrector of the folio, 1632, with less violence, has — ' Come 'fore your city's eyes,' &c." Collier's Notes and Emendations, &c. p. 202. It is to be hoped that no future editor will reject the certain emendation of Rowe for one, which, if it had been 86 KING JOHN. proposed by a critic of the present day, would have met with deserved contempt. As to " comfort" being " used ironically," see my Re- marks on Collier's and Knight's eds. of Shakespeare, p. 88. Act ii. sc. 2. " K. John. France, hast thou yet more blood to cast away ? Say, shall the current of oiu right roam on," &c. So Malone, Mr. Collier, and Mr. Knight, — ^because the first folio has " rome.'' But ^^ rome' is manifestly a mis- print for " runne" (or perhaps for " ronne," as the ms. might have had that spelling) ; and the editor of the second folio rightly substituted " run." Steevens justly remarks; "The King would rather describe his right as running on in a direct than in an irregular course, such as would be implied by the word roam'' (In this play the first folio is not uniform in the spelling of run ; but it has " runnes tickling vp and downe," act iii. sc. 3 ; " when we haue runne so ill," act iii. sc. 4 ; " runne to meet displeasure," act V. sc. 1.) Act iii. sc. 1. " Cons. O Lewis, stand fast ! the devil tempts thee here, In likeness of a new untrimmed bride." On the word " untrimmed ," how have the commenta- tors written I how have I myself written ! how foolishly, all of us ! KING JOHN. 87 I now see* (and with wonder at my former blindness) that nothing more is required than the change of a single letter, — that, beyond the possibility of doubt, Shakespeare wrote, — " In Hkeness of a new u^-trimmed bride." Compare what he elsewhere says of a bride ; " Go, waken Juliet; go, and trim her up'' Borneo and Juliet , act iv. sc. 4. So too Marlowe ; " But by her glass disdainful pride she learns, Nor she herself, but first trimrrid up^ discerns." Ovid's Elegies J — Works, iii. 174, ed. Dyce. Act iii. sc. 3. " If the midnight bell Did, with his iron tongue and brazen mouth, Sound on into the drowsy race of night," So the old copies. " The folio, 1632, as amended, has, — * Sound on into the drowsy ear of night,' instead of * race of night,' as it stands in the folios : when * ear' was spelt eare, as was most frequently the case, the mistake was easy, and we may now be pretty sure that 'race' was a mistake." Collier's Notes and Emendations^ &c. p. 205. Whether the emendation "ear" originated with the * This emendation waa mentioned as mine by Mr. Singer in Notes and Queries for July 3d, 1852. 88 KING JOHN. Manuscript-corrector, or whether he derived it from some prompter's copy, — I feel assured that it is the poet's word. The same correction occurred, long ago, to myself: it occurred also to Mr. Collier, while he was editing the play ; and (as appears from his note ad 1.) he would have inserted it in the text, had not his better judgment been overpowered by a superstitious reverence for the folio. But, if the Manuscript-corrector considered " on'"' to be an adverb (and we are uncertain how he understood it, — " ow" and ^^ one'' being so often spelt alike), my conviction would still remain unshaken, that the recent editors, by printing " on," have greatly impaired the grandeur and the poetry of the passage. Steevens well observes ; " The repeated strokes have less of solemnity than the single notice, as they take from the horror and awful silence here described as so propitious to the dread- ful purposes of the king. Though the hour of one be not the natural midnight, it is yet the most solemn moment of the poetical one ; and Shakespeare himself has chosen to introduce his Ghost in Hamlet, — * The bell then beating one' " As to the " contradiction" which the recent editors object to in " the midnight bell sounding one," I can only say that, in such a passage, a poet may be forgiven for not expressing himself according to the exact matter of fact, when even prose-writers, from the earliest times to the present, occasionally employ very inaccurate language in speaking of the hours of darkness : e, g.\ ** It happened that hetweene twelve and one a cloche at midnight , there blew a mighty storme of winde against the house," &c. The Famous History oj Doctor Faustus, sig. K 3, ed. 1648. KING JOHN. 89 " We marched slowly on because of the carriages we had with us, and came to Freynstat about one a clock in the night perfectly undiscover'd." Defoe's Memoirs of a Cavalier, p. 119, first ed. ** Left Ostend in the steam-boat at three o'clock in the night.'" Journal by Gary, the translator of Dante, — Me- moir of him by his Son, vol. ii. 254. Act iv. so. L " Yet, I remember, when I was in France, Young gentlemen would be as sad as night, • Only for wantonness." "I doubt," says Malone, "whether our author had any authority for attributing this species of affectation to the French. He generally ascribes the manners of England to all other countries." The French may or may not have been the inventors of this singular mark of gentility, which, it is well known, was once highly fashionable in England. But Nash, in one of his tracts, expressly mentions an assumed melan- choly as one of the follies which ** idle travellers" brought home from France. The passage is very curious. " What is there in Fraunce to be learnd more than in England, but falshood in fellowship, perfect slouenrie, to loue no man but for my pleasure, to sweare Ah par la mort Dieu when a mans hammes are scabd ? For the idle Traueller (I meane not for the Souldiour), I have knowen some that haue continued there by the space of halfe a dozen yeare, and when they come [came] home, they haue hyd a little weerish leane face vnder a broad French hat, kept a ter- rible coyle with the dust in the streete in their long cloakes M 90 KING JOHN. of gray paper, and spoke English strangely. Nought else haue they profited by their trauell, sane learnt to distin- guish of the true Burdeaux grape, and knowe a cup of neate Gascoygne wine from wine of Orleance ; yea, and peraduenture this also, to esteeme of the poxe as a pimple, to weare a veluet patch on their face, and walke melan- choly with their armes folded,^' The Vnfortvnate Traveller, Or, The Life of Jack e Wilton, 1594, sig. l 4. Act y. sc. 2. " This unheard sauciness, and boyish troops," &c. So the old copies. " The manuscript-corrector gives no countenance to Theobald's proposal to read unhair'd for 'unheard;' and that his attention was directed to the line, is evident from the fact that he makes an emendation, though not of much importance, in it ; he reads : — * This unheard sauciness of boyish troops.' " Collier's Notes and Emendations, &c. p. 210. Theobald did more than '^propose to read unhair'd,'^ — he fearlessly inserted it in the text ; and all his successors, excepting Mr. Collier, have retained it. The Manuscript-corrector's alteration (made, I pre- sume, because he had forgotten that hair and hair'd were often spelt hear and heard, — e. g, ; " In face, in clothes, in speech, in eyes, in heare.'' Harington's Orlando Furioso, b. xliii. st. 34. " Franticke Ambition, Enuie, shagge-heard Lust." Chapman's EuthymnicB JRaptus, &c. 1609, sig. f.) KING JOHN. 91 introduces a genitive case, where, there is every reason to believe, Shakespeare did not intend one to occur ; " This apish and unmannerly approach^ This harness'd masque^ and unadvised revel. This unhair'd sauciness, and boyish troops. The king doth smile at ; and is well prepar'd To whip this dwarfish war, these pigmy arms. From out the circle of his territories." Besides, we may well doubt if any writer would or could use "unheard sauciness" for "unheard-o/ sauciness." " Unhair'd sauciness" is, of course, unbearded sauci- ness ; and (as I remarked in a former publication) Faul- conbridge now expresses to the Dauphin that contempt for him and his forces, with which in the preceding scene he had spoken of him to the King ; " shall a beardless boy, A cocker'd silken wanton, brave our fields ?" &c. 92 MCHARD IL Act T. 8C 1. " thou most beanteoQS aw, Wlij should liund-ikToiir*d grief he lod^d m tkee^ When triumph is become an ale-house guest?" Compare Dante, in the Vita Nuoca; " O Toi, che per la ina d' Amor passate, Atteodete, egoaidate S* c^fi ^ dolore alcun quanto il mio gisue: ^ prego sol ch' IkVdir mi soffiiate; ^ poi imagioatey S* io son ^p^ c ^^ PRINTED BY LEVEY, ROBSON, AND PRANKLYN, Great New Street and Fetter Lane. THIS BOOK IS BUE 01. THE LAST DATE STAMPEDBELOW AN INITIAL FINE OP oc ^ W/L-L BE ASSESSED FOR pf?,^, ^^ ^^^'^^ THIS BOOK ON THE DATE n.J^''^ ""^ ^^"^"''N WILL INCREASE TO SO J| ^^^l ^"^ PENALTY DAY AND TO $I.orON T». ''''"^'^^"RTH OVERDUE. °^ ^"E SEVENTH DAY JRN 2 1954 LU LD 21-50m-l r YC 214456 •^n^r^^^nl5B'^R KnR^mR^A' 'ryr\ArtfA'"--"^ O^/^AA^AiAA ^A'A^/^^AI AaaAaaA ,/^a;AA aaAS^- J«ft«SS^AAiM^*^ftH»^^^^^^ :An-.— WQ^fN^n^ ieS^A*^^ ■iia*ii^.m m^fKr^..-. K-,» ^:*AA*<'^ ^'^fA'.