HAROLD L. LEUPP
ICiLiY\
RARY
ERSITY OF
xfomiAy
ERGBAO.
BRARY
^
O I
L. <iyX\n~
SHAKESPEARIAN GRAMMAR.
SHAKESPEARIAN GRAMMAR.
AN ATTEMPT TO ILLUSTRATE SOME OF
THE DIFFERENCES BETWEEN ELIZABETHAN
AND MODERN ENGLISH,
J^0r i\t 1^%t 0f ^tl^ools.
BY
E. A. ABBOTT, D.D.
HEAD MASTER OF THE CITY OF LONDON SCHOOU
NEW EDITION.
MACMILLAN AND CO.
1883.
{^The Right of Iranslation and Reproduction is reserved.'X
LONDON :
R. CLAY, SONS, AND TAYLOR, PRINTERS,
BREAD STREET HILL.
l??3
CONTENTS.
PAGH
Preface to Third Edition xxi
Preface to First Edition i
Introduction 5
GRAMMAR.
PAR.
Adjectives used as adverbs i
compounded 2
in -ful, -less, -ble, and -ive, both actively and passively used 3
signifying effect used to signify cause 4
singular used as nouns 5
comparative, -er, more 6
,, in -er, after -ing, -ed, -id^ -ain, -si, -ect . . 7
superlative, -est used for very 8
,, in -«•/ after -^«/, -ing; -ed, -ect 9
,, used incor/ectly for the comparative . . . ic
comparative and superlative, pleonastically used . . . , 11
All, both, each, every, other 12
possessive transposed 13
Just; mere ; proper, very; influenced by their Latin
meaning 14-16
More, most, used for g7'eater, greatest 17
One 18
Right Vi^di ior true 19
Self 20
Some 21
ibrmed from nouns, adverbs, &c., without change , 22
VI
CONTENTS.
PAR.
Adverbs with and without -/)' ,- . 23
with prefix a- 24
derived from the possessive inflection 25
After; again; all; almost 26-29
Along; anon ; anything ; away; back 30-33
Besides; briefly; by ; chance; even; ever 34-39
Far ; forth; hence; hither 4a-4i
Happily ; here ; hitherto ; home ; hoiv ; howsoever . . 42-47
Last; moreabove ; moreave'r . 48-50
Much; never ; none; not 51-54
Nothing; off; once ; only ; over 55-5^
Presently ; round; severally ; siitce 59-^2
ib inserted ; omitted; = "also;" = "then" , . . 63-66
"^t? for such a " 67
Something; sometimes; still ; than; then 68-71
To-fore; too; what ^ when ; whilst; why ; yet . . . 72-76
used as nouns and adjectives 77
after the verb is 78
Article. An connected with ojte > 79
Aft and one, pronunciation of 80
^ used for "one," "any" 81
A and the omitted in archaic poetry 82
„ after "as," "like," "than" 83
A omitted before nouns signifying a class or a multitude . 84
A inserted alter adjeclives used as adverbs 85
.^ omitted after "what," "such," &c 86
A inserted before numeral adjectives and many . . .' . 87
Aft-other 88
The omitted before nouns defined by other nouns ... 89
,, after prepositions 90
7%^ inserted in "at M^ first," &c 91
The used to denote notoriety, &c 92
T^ before verbals .,.••».» 93
CONTENTS. vu
PAK.
The wth comparatives 94
Conjunctions. And emphatic with participles 95
And emphatic in other cases 9^
,, in answers 97
,, after exclamations 98
,, in questions 99
^;zaf used for "also" by Wickliffe 100
And or an apparently used for j^ loi
,, with the subjunctive 102
And if 103
Ant were 104
^«a? «/" used for " even if " and " if indeed " 105
^j contracted for '* all-so " 106
^j apparently for "a^if" -. . . 107
As thai ior as 108
y^j used for •* that" after ** so" 109
^j- parenthetical = "for so" no
„ "rtj regards which," &c in
^j for "which" iia
^ J, meaning "namely" '113
As with definitions of time 114
^ J with " seem," participles, &c 1 15
^j a conjunctional sufhx 116
Because I17
.&«/, meaning and derivation of . . . 118
^«/? in Early English 119
i?z</ with the subjunctive and indicative 120
But, transition of meaning ,,.I2I
^a/ meaning prevention .122
^«/ taking the place of the subject 123
Bui with contingency expressed or implied 124
B'^t sometimes ambiguous f..,i25
BuioitQx an execration expressed or implied 126
▼iii CONTENTS.
PAR.
^«/ for "than ^^ after negative comparatives 127
But passes from *' except " to "only " when the negative
is omitted 128
But varies in its position 129
But only ; merely but, &c 130
Or; or ever 131
^/«r^ for "when," "ago" 132
^<7 = " provided that ;" so with the optative . . , .133
Where for " whereas " 134
Whereas iox "where" 135
Whether: "ox whether" 136
While 137
Prepositions. Local and metaphorical meaning . . . .138
more restricted in meaning nov/ than in Elizabethan authors 139
A- ; after; against 140-142
^/ used for rt!-; rejects a following adjective . . . 143,144
By, original and derived meanings ' . . . 145
By = "as a consequence of" 146
For, original meaning of 147
For = "instead of," "as being" 148
ivr= "as regards ;" "because of," referring to the past 149, 150
/^<7r, transition into a conjunction 151
For to, origin of 152
For, variable use of 153
For = " to prevent " 154
/^^r after " am " 155
Forth a preposition 156
From out 157
/^r^w without a verb of motion » . 158
/« with verbs of motion » . . 159
/«for "on" «... 160
,, "during" w... 161
„ " in the case of, "" about " , ••»... 162
CONTENTS. ix
PA.R.
/« where we use "at" 163
In with the verbal 164
Off original meaning 165
Of with verbs of ablation 166
ly applied to past time = "from" 167
t;y = **as a consequence of" where we use "by," "on,"
"at,"&c 168
Of in adjurations, &c 169
(^ preceding the agent 170
Of with verbs of construction, &c.; sometimes means
"instead of" - 171
Cy for " in ;" appositional genitive 172
Of = "as regards" 173
(y »= "concerning;" "about" 174
Cy used locally for " on " 175
(?/ used temporally for " during " 176
Of after partitive, French-derived, and formerly impersonal
verbs 177
(y after verbals 178
0/" redundant I79
On metaphorically used 180
C?« for "of" in the sense of "about," &c. . . . . .181
" possessively 182
0«/ a preposition 183
Tilliox "to" 184
To, radical meaning "motion to;" hence "in addition to" 185
Zb " with a view to " ' 186
To " motion /(? the side of," "against," "towards," "in
comparison with," "up/*?" 187
To with verbs of rest = " near " 188
„ adjectives of obedience, &c iSSa
To ^ " equivalent /^,^- "for" 189
To i " I would /c? God ; " "/^-nighl" 190
X CONTENTS.
PAR.
Upon used metaphorically ; adverbially . . . . 191, 192
W%>^for"by;" for other prepositions .... 193, 194
„ "like;" withal 195, 196
J^V>4(?«/ for " outside of " 197
Preposition omitted after verbs of motion; worth; and
hearing .... 198, 198a, 199
„ ,, after other verbs ; before indirect
object 200, 201
,, ,, in adverbial phrases 202
Prepositions transposed 203
Upon. *' It stands me z//^«" 204
Pronouns, Personal. Anomalies^ explanation of. . . . 205
He for him 206, 207
Hhnioxhe; I ior me 208, 209
Meiox I; she ior her 210, 211
Thee ior thou ; diher "ioh^" 212,213
Them ior they ; zis iox we 214, 215
anomalies of, between- a conjunction and an infinitive, or
where the pronouns are separated from the words on
which they depend 216
His for 'j 217
7/w', ^^,_y^?<?', &c., antecedents of relatives 218
Our, your, &c., used for "of us," "of you". . . . . 219
Me, thee, hitn, &c., used as datives 220
Youry colloquial use of 221
Our used with vocatives 222
Him, her, Sec, for "himself," "herself" 223
^ and X/5<? for " man " and " woman " 224
Pronoun for pronominal adjective 225
// quasi-redundant with verbs 226
// emphatic as antecedent . . . '. 227
Its post-Shakespearian , . 228
Her for its iu Shakespeare and Milton ...,.., 229
•
CONTENTS. xi
I'AR.
* Me rather had ; " " / were better ; " ** /am sorrow " . 230
Thou between intimate friends, but not from son to father . 231
Thou from master to servant, you a mark of anger . . . 232
Thou an insult, except to friends and inferiors .... 233
Thou in direct appeals, you in dependent clauses . . . 234
Thou, apparent exceptions 235
Ye2sAyou; difference between 236
My, mine; thy, thine; difference between 237
Mine, hers, used for my, her 238
Yours; "this of j(7«rj" 239
transposed 240
Thou omitted 241
Pronoun redundant after a conjunctional clause .... 242
,, in other cases 243
Pronouns, Relative and Interrogative.
Relative omitted 244
,, „ " They in France " 245
„ ,, and attiacted 246
Relative with plural antecedent often takes singular verb ;
and with antecedent in the second person, takes verb
in the third 247
Relative with supplementary pronoun ; origin of ... . 248
Supplementary pronoun ; when used 249
Which that 250
Who ; transition from interrogative to relative meaning . 25 1
What ; semi-transition, how checked 252
What for " why ; " "-whatever ;" " who ; " "any " 253-255
What for " of what a nature ? " 256
Who, " as «/>^i7 should say " 257
Who, that, and which, difference between 258
,, ,, Shakespearian use of .... 259
TTiat refers to an essential characteristic 260
TTiat after nouns used vocatively a6i
Kii CONTENTS
PAR.
That, when separated from antecedent 262
rF/5^, for "andhe," "forhe,"&c 263
Who personifies irrational antecedents 264
Which interchanged with who and that 265
Which less definite than who 266
The— that; that— which 267
Which more definite than that ......... 268
Which with repeated antecedent 269
The which 270
^/5/V>^ parenthetically for **w/>%/^-4 thing" 271
Which iox ^^2i%\.o which'' 272
Which, anomalies of 273
Who for whom 274
Relatival Constructions. ^^ So — as:"**as—as^'. 275,276
** That— that;" '' that . . . {as) to;" ''such— which'' 277, 278
"Such — that;" " st/ch — where" 279
"That— as;" " so . . . {as) " 280,281
"So— {that);" "{so)— that" 282,283
T:^^/ for "because," "when," &c 284
, That omitted, then inserted 285
That, "whatsoever that" ... 286
That, a conjunctional affix 287
That in 287, origin of 288
As, a conjunctional affix 289
Verbs, Forms of : —
Transitive, mostly formed from adjectives and nouns 290
,, formed from intransitive verbs . . . . .291
Advantages of this licence 292
Transitive verbs rarely used intransitively 293
Passive, formation of 294
Passive, use of, with verbs of motion, &c 295
Reflexive • • 296
Impersonal , .: 297
CONTENTS. xiii
PAR.
Veabs, Auxiliary. Be, subjunctive and quasi-subjunctive , 298
Be iu questions and dependent sentences 299
Be in the plural and for euphony 300
Were, subjunctive use of 301
W^^ after " while " and " until " 302
Do, did, original use of 303
Do, did, Shakespearian use of 304
Do omitted before not 305
,, and inserted 306
May, can ; original and subsequent meaning 307
May, antiquity of 308
May in doubtful statements 309
Alay with a negative 310
J/tzy for the subjunctive in the sense of purpose . . . .311
Mights "could" 312
May, might, used optatively 313
Must = "is to;" original use of 314
Shall, original meaning 315
Will assumed the meaning of futurity with the second and
third persons 316
Shall assumed the meaning of compulsion with the second
and third persons 317
Shall, " I j/5a//" from inferiors 318
Will, ** I 7C////" not used by Shakespeare for "I shall " . 319
Will, with second person ironical or imperative . . . 320
^7/ with third person, difficult passages 321
Should denotes contingent futurity 322
6'A9z</^ =" ought ;"" was to " 323,324
Should in questions and dependent sentences 325
Should after a past tense where shall would follow a
present 326
Should, "j-y^fjw/a: have," Shakespearian use of .... 327
Should denoting the statement of another than the speaker 328
xiv CONTENTS.
PAR.
^<?«/<!/ for "will," "wish," "require" 329
Would = "was wont to" , . . 330
W?«/</ not used for " should " 3^
Verbs, Inflections of i —
Indicative, third person plural in -<?« 332
Third person plural present m -es 333
,, vQ.-th 334
Inflection in -J /r^^-^d^/w^ a plural subject 335
„ with two singular nouns as subject . . . 336
Apparent cases of the inflection in -j 337
■i final misprinted 338
Past indicative forms in -« 339
Second person singular in -/j 340
Past indicative -t for 'ted » . . 341
Participles. -Ed omitted after d and /, &c 342
„ -^;z dropped 343
, , Irregular formations 344
Participial prefix y- 345
Verbs, Moods of : —
Indicative : simple present for complete present with ad-
verbs meaning " as yet," &c. . . . 346
„ simple past for complete present with
„ "since," &c 347
,, future for subjunctive and infinitive . . . 348
Infinitive : to omitted, inserted 349
,, to omitted and inserted alter the same verb . 350
„ "It were best {to) : " " I were best {to) " 351, 352
,, to omitted after conjunctions 353
r^ oun and infinitive used as subject or object ..... 354
infinitive used as a noun 355
,, ,, indefinitely i 356
,, ,, at the beginning of a sentence 357
Fat to 358
CONTENTS. XV
PAR.
Infinitive active where we use pasiSve 359
„ complete present after venbs of intending, &c. , 360
Subjunctive : simple form 361
„ auxiliary forms 362
„ replaced by indicative after "if," &c., where
no doubt is expressed 363
„ used optatively or imperatively .... 364
„ optative use, advantage of 365
„ complete past 3^^
„ used indefinitely after relative 367
,, in a subordinate sentence 3^8
,, after verbs of command 369
,, irregular sequence of tenses 370
Conditional sentences, irregidarities 37 ^
Participles and Verbals :
Participles active, confusion in 37^
Participial verbal 373
Participles passive, confusion in 374
-ed for -able 375
Participles with nominative absolute 376
,, expressing a condition 377
„ without noun or pronoun 378
,, pronoun implied from pronominal adjective . 379
,, adjective instead of participle 380
Participle implied 381
Ellipses. Where the ellipsis can be easily supplied from the
context 382
in conjunctional sentences : a,fter and 383
after as, but, erCy if 384-387
zii^x like, or y since, than, though 388-391
after till, too 392-393
in relative sentences , . . . . 394
m antithetical sentences 395
xvi CONTENTS.
PAR.
Ellipses of neither before nor .... * 396
oi" adverbial and possessive inflection in conjunctional
sentences 397
of superlative inflection in conjunctional sentences . . 398
of nominative 399
„ with ** has," "is," "was" 400
,, in the first or second person . . . .401
,, explained 402
of it is, there is, is 403
of it, there 404
after xvill, is, &c 405
Irregularities. Double negative 406
Double preposition 407
Neither^ nor, used like both, and 408
Confusion of two constructions with superlative .... 409
,, ,, ,, with whom 410
— Other confusions of two constructions 411
Confusion of proximity 412
Nominative implied from participial phrases 413
Redundant object 414
Construction changed by change of thought 415
,, ,, for clearness 416
Noun absolute 417
Foreign idioms 418
,, adjectives 419
Transpositions of adjectival phrases 419^
,, ofadverbs 420
Adverbs at the beginning of the sentence 421
Transposition of article 422
„ in noun clauses 423
,, of prepositions 424
„ after an emphatic word or expression . . . 425
„ after relative 426
CONTENTS. '
xvii
PAR.
Other transpositions 4^7
Compound Words. Hybrids 428
Adverbial compounds 429
Noun compounds 430
Preposition compounds 43 1
Verb compounds 432
Participial nouns 433
Phrase compounds 434
Anomalous compounds 435
Prefixes. A- ; all-to- ; at- ; be- ; dis- 436-439
En- ;for- ; in- and un- 440-442
Suffixes, -er ; -en; -ive ; -ble ; -less 443-446
-ly ; -meiU ; -ness ; -y 447-450
General licence of 451
PROSODY.
The ordinary verse 452
The "pause-accent" 453
Emphatic accents 453<^
The " pause-extra-syllable " 454
,, „ rarely a monosyllable except in
Henry VIII. 455
Unaccented monosyllables 456
Accented monosyllables • 457
,, monosyllabic prepositions 457^
Two "pause-extra-syllables" 458
Written Contractions : —
Elizabethan spelling, contractions in 459
Prefixes dropped 460
Other written contractions 461
Contractions in pronunciation not expressed in writing . . 462
R softens or destroys a following vowel " .... 463
h
sviij CONTENTS.
PAR.
R softens or destroys a preceding vowel 464
Er, ely le final dropped , 465
Th and v dropped between two vowels 466
/ unaccented in a polysyllable dropped 467
Any vowel unaccented in a polysyllable may be dropped . 468
Polysyllabic names with but one accent 469
Power, prozvefSy being, knowing, monosyllables .... 470
•es or -s dropped after s, se, ce, ge 471
-ed dropped after d and t 472
-est dropped in superlatives after dentals and liquids . . 473
Variable Syllables. Ed final, mute and sonant in the
same line 474
Words prolonged by emphasis 475
,, shortened by want of emphasis 476
Lengthening of Words. R and / after a consonant intro-
duce an additional syllable, .f.^. **Eng(e)land " . .477
A* preceded by a vowel lengthens pronunciation .... 478
/ and e pronounced before vowels 479
Monosyllabic feet in Chaucer 479^
,, ,, ending in r or r^ 480
Monosyllables, when prolonged 481
,, ,, exclamations 482
„ „ prolonged by emphasis or antithesis . . . 483
„ ,, diphthongs and long vowels 484
,, ,, containing a vowel followed hy r . , .485
„ ,, other instances of prolongation .... 486
E final pronounced . 487
E of French origin, pronounced 488
E final in French names pronounced 489
Words in which the accent is nearer the end than with us . 490
/j-/(i final in polysyllables -49^
Words in which the accent is nearer the beginning than
with us , 492
CONTENTS.
Alexandrines, very rare ... 493
Apparent Alexandrines, two final extra syllables .... 494
two syllables in the middle of a verse 495
explained by contractions . . . 496
unemphatic syllables dropped . .497
doubtful 498
the detached foot 499
Trimeter couplet in dialogue 500
„ „ in other cases 501
„ „ the comic 502
„ „ apparent 503
Verses with four accents assigned to witches, fairies, &c. . . 5^4
,, ,, otherwise rare 5^5
,, ,, where there is a break in the line . . 506
,, „ change of thought 5*^7
,, „ change of consti-uction 508
,, ,, a number of clauses 509
,, ,, apparent 510
Short lines, why introduced 511
Interjectional lines -. 512
The amphibious section 513
A verse continued, spite of interruptions 514
Rhyme, when used 515
Prose, when used 5^5^
simtle and metaphor 43o
Notes and Questions 440
Index to the Quotations 455
Verbal Index ,,....... 501
PREFACE TO THIRD EDITION.
The success which has attended the First and Second
Editions of the "Shakespearian Grammar," and the
demand for a Third Edition within a year of the publica-
tion of the First, has encouraged the Author to endeavour to
make the work somewhat more useful, and to render it, as
far as possible, a complete book of reference for all difficulties
of Shakespearian syntax or prosody. For this purpose the
whole of Shakespeare has been re-read, and an attempt has
been made to include within this Edition the explanation of
every idiomatic difficulty (where the text is not confessedly
corrupt) that comes within the province of a grammar as
distinct from a glossary.
The great object being to make a useful book of reference
for students, and especially for classes in schools, several
Plays have been indexed so fully that with the aid of a
glossary and historical notes the references will serve for a
complete commentary. These Plays are, As You Like It,
Coriolanus, Ha^Jtlet, Henry V., Julius Cczsar, Lear, Macbeth,
Merchant of Venice, Midsummer Nighfs D?'eam, Richard 11.^
Richard III., Tempest, Twelfth Night. It is hoped that
these copious indexes will meet a want, by giving some
definite work to be prepared by the class, whether as a
holiday task or in the work of the term. The want of some
such distinct work, to give thoroughness and definiteness
xxii PREFACE TO THIRD EDITION.
to an English lesson, has been felt by many teachers of
experience. A complete table of the contents of each
paragraph has been prefixed, together with a Verbal Index
at the end. The indexes may be of use to students of a
more advanced stage, and perhaps may occasionally be
found useful to the general reader of Shakespeare.
A second perusal of Shakespeare, with a special reference to
idiom and prosody, has brought to light several laws which
regulate many apparent irregularities. The interesting
distinction between thoti, zxidi you (Pars. 231 — 235), for ex-
ample, has not hitherto attracted the attention of readers,
or, as far as I am aware, of commentators on Shakespeare.
The use of the relative with plural antecedent and singular
verb (Par. 246); the prevalence of the third person plural in
'S (Par. 333), which does not appear in modern editions of
Shakespeare ; the "confusion of proximity" (Par. 412) ; the
distinction between an adjective before and after a noun ;
these and many other points which were at first either briefly
or not at all discussed, have increased the present to more
than thrice the size of the original book. I propose now to
stereotype this edition, so that no further changes need be
anticipated.
It may be thought that the amplification of the Prosody is
unnecessary, at all events, for the purpose of a schoql-book.
My own experience, however, leads me to think that the
Prosody of Shakespeare has peculiar interest for boys, and
that some training in it is absolutely necessary if they are
to read Shakespeare critically. The additions which have
been made to this part of the book have sprung naturally
out of the lessons in English which I have been in the
habit of giving ; and as they are the results of practical ex-
perience, I am confident they will be found useful for school
^
PREFACE TO THIRD EDITION. xxiii
purposes.* A conjectural character, more apparent however
than real, has perhaps been given to this part of the book
from the necessity that I felt of setting down every difficult
verse of Shakespeare where the text was not acknowledged
as corrupt, or where the difficulty was more than slight. Prac-
tically, I think, it will be found that the rules of the Prosody
will be found to solve most of the difficulties that will
present themselves to boys — at least, in the thirteen Plays
above mentioned.
Besides obligations mentioned in the First Edition, I must
acknowledge the great assistance I have received from
Matzner'S Englische Graminatik (3 vols., Berhn, 1865),
whose enormous collection of examples deserves notice.
I am indebted to the same author for some points illustrating
the connection between Early and Elizabethan English.
Here, however, I have received ample assistance from
Mr. F. J. Furnivall, Mr. R. Morris, and others, whose kind-
ness I am glad to have an opportunity of mentioning. In par-
ticular, 1 must here acknowledge my very great obligation to
the Rev. W. W. Skeat, late Fellow of Christ's College, Cam-
bridge, whose excellent edition of William of Palerne (Early
English Text Society, 1867), and whose Mccso-Gothic Dic-
tionary (Asher, London, 1866), have been of great service to
me. Mr. Skeat also revised the whole of the proof-sheets, and
many of his suggestions are incorporated in the present
work. I may add here, that in discussing the difference
between "thou " and "you " (231-5), and the " monosyllabic
foot" (480-6), I was not aware that I had been anticipated
by Mr. Skeat, who has illustrated the former point (with
reference to Early English) in William of Palerne, p. xlii.,
* The somewhat grotesque name of "amphibious verse " (Par. 513) sprang in
this way from class-teaching. I have retained it, as answering its purpose, by
communicating its meaning readily and impressively.
xxiv PREFACE TG THIRD EDITION.
and the latter in his Essay on the Metres of Chaucer (vol. i.,
Aldine Edition, London, 1866). The copious hidex to
Layamon, edited by Sir Frederick Madden, has also been of
great service. I trust that, though care has been taken to
avoid any unnecessary parade of Anglo-Saxon, or Early
English, that might interfere with the distinct object of the
work, the information on these points will be found trust-
worthy and useful. The Prosody has been revis-ed throughout
by Mr. A. J. Ellis, whose work on Early English Pronun-
ciation is well known. Mr. Ellis's method of scansion and
notation is not in all respects the same as my own, but I
have made several modifications in consequence of his
suggestive criticisms.
I have now only to express my hope that this little book
may do something to forward the development of English
instruction in English schools. Taking the very lowest
ground, I believe that an intelligent study of English is the
shortest and safest way to attain to an intelligent and suc-
cessful study of Latin and Greek, and that it is idle to expect
a boy to grapple with a sentence of Plato or Thucydides if
he cannot master a passage of Shakespeare or a couplet of
Pope. Looking, therefore, at the study of English from the
old point of view adopted by those who advocate a purely
classical instruction, I am emphatically of opinion that it is
a positive gain to classical studies to deduct from them an
hour or two every week for the study of Enghsh. But 1
need scarcely say that the time seems not far off when every
English boy who continues his studies to the age of fifteen
will study English for the sake of Enghsh ; and where English
Is studied Shakespeare is not likely to be forgotten.
E. A. A.
loth May^ 1870.
A
PREFACE TO FIRST EDITION.
The object of this work is to furnish students of Shakespeare
and Bacon with a short systematic account of some points of
difference between Ehzabethan syntax and our own. The
words of these authors present but Httle difficulty. They can
be understood from glossaries, and, even without such aid,
a little reflection and attention to the context will generally
enable us to hit the meaning. But the differences of idio7n
are more perplexing. They are more frequent than mere
verbal difficulties, and they are less obvious and noticeable.
But it need hardly be said, that if we allow ourselves to fancy
we are studying Shakespeare critically, when we have not
noticed and cannot explain the simplest Shakespearian
idiom, we are in danger of seriously lowering our standard
of accurate study, and so far from training we are untraining
our understanding. Nor is it enough to enumerate unusual
idioms without explaining them. Such is not the course we
pursue in Latin and Greek, and our native tongue should
either not be studied critically at all, or be studied as
thoroughly as the languages of antiquity.*
The difficulty which the author has experienced in teach-
ing pupils to read Shakespearian verse correctly, and to
analyse a metaphorical expression, has induced him to
add a few pages on Shakespeare's prosody and on the use of
simile and metaphor.
* Of course it is possible to study Shakespeare with great advantage, .'\nd yet
u'ithout any reference to textual criticism. Only, it should be distinctly undex-
Stood b such cases that textual criticism is not attempted.
B
2 PREFACE TO FIRST EDITION.
A very important question in the study of English is, what
should be the amount and nature of the assistance given to
students in the shape of notes. It is clear that the mere
getting up and reproducing a commentator's opinions, though
the process may fill a boy with useful information, can in no
sense be called a training. In the Notes and Questions at
the end of this volume I have tried to give no more help
than is absolutely necessary. The questions may be of use
as a holiday-task, or in showing the student how to work
the Grammar. They have been for the most part answered
by a class of boys from fourteen to sixteen years old, and
some by boys much younger.
In some of the sections of the Prosody I must acknow-
ledge my obligations to Mr. W. S. Walker's work on Shake-
speare's Versification.* Other obligations are acknowledged
in the course of the work ; but the great mass of the exam-
ples have been collected in the course of several years' close
study of Shakespeare and contemporaneous authors. 1 am
aware that there will be found both inaccuracies and incom-
pleteness in this attempt to apply the rules of classical
scholarship to the criticism of Elizabethan English, but it is
perhaps from a number of such imperfect contributions that
there will at last arise a perfect English Grammar.
References.
The following works are referred to by the pages :-^
Ascham's Scholemaster . (Mayor) . London, 1863.
The Advancement of Learning . . Oxford, 1640.
Bacon's Essays . . . (Wright) . London, 1868.
Ben Jonson's Works . . (Gifford) . London, 1838.
North's Plutarch London, 1656.
Florio's Montaigne London, 1603.
• In correcting the proof-sheets I have gained much froia consulting Mr.
Walker's " Criticisms on Shakespeare."
PREFACE TO FIRST EDITION, 3
Wager, Heywood, Ingelend, &c., and sometimes Beaumont
and Fletcher, are quoted from " The Songs of the Dra-
matists," J. W. Parker, 1855.
Works referred to by Abbreviations.
Some of the plays of Shakespeare are indicated by the
initials of the titles, as follow :
A.W. All's Well that Ends Well
A. and C . . . Antony and Cleopatra.
A.Y.L As You Like It.
C. of E Comedy of Errors.
J. C. Julius Caesar.
L. L. L Love's Labour Lost.
M.for M. . . , Measure for Measure.
M. of V. . . . . Merchant of Venice.
M. W. of W. . . Merry Wives of Windsor.
M. N. D Midsummer Night's Dream.
M. Ado .... Much Ado about Nothing.
P. of T, . . . . Pericles of Tyre.
R. and J. , . . Romeo and Juliet.
T. of Sh Taming of the Shrew.
T. of A Timon of Athens.
T. A Titus Andronicus.
Tr. and Cr. . . . Troilus and Cressida.
T.N. Twelfth Night.
T. G. of V. • . . Two Gentlemen of Verona.
W.T. Winter's Tale.
(The quotations are from the Globe edition unless other-
wise specified.}
Asch Ascham's Scholemaster.
Vi. E Bacon's Essays.
B. and F. . . . Beaumont and Fletcher
B. J. . . . • . Ben Jonson
B2
PREFACE TO FIRST EDITION.
B. J. E. in dfc. . Every l\Ian in his Humour.
„ E. out &'C. . Every Man out of his Humour
„ Cy.^s Rev. . Cynthia's Revels.
„ Sil. Worn. . Silent Woman.
„ Sejan. . . Sejanus.
„ SadSh.. . Sad Shepherd.
L. C. Lover's Complaint.
N. P North's Plutarch.
P. P Passionate Pilgrim.
R. of L Rape of Lucrece.
Sonn Shakespeare's Sonnets.
V. and A. . . . Venus and Adonis.
Numbers in parentheses thus (8i) refer to liie paragraphs
of the Grammar.
INTRODUCTION.
Elizabethan English, on a superficial view, appears to
present this great point of difference from the English of
modern times, that in the former any irregularities whatever,
whether in the formation of words or in the combination of
words into sentences, are allowable. In the first place, almost
any part of speech can be used as any other part of speech.
An adverb can be used as a verb, " They askance their eyes "
{R. o/L.)', as a noun, "the backward and abysm of time"
{Sonn.) ; or as an adjective, ''''di seldom pleasure" {Sonn.). Any
noun, adjective, or neuter verb can be used as an active
verb. You can " happy " your friend, " malice " or " foot "
your enemy, or "fall" an axe on his neck. An adjective can
be used as an adverb ; and you can speak and act " easy,"
"free," "excellent:" or as a noun, and you can talk of
" fair " instead of " beauty," and " a pale " instead of " a
paleness." Even the pronouns are not exempt from these
metamorphoses. A " he " is used for a man, and a lady is
described by a gentleman as "the fairest she he has yet
beheld." Spenser asks us to
" Come down and leame the little what
That Thomalin can sayne." — Calend. Jul. v. 31 (Nares).
And Hey wood, after dividing human diners into three
classes thus —
" Some witli small fare they be not pleased,
Some with much fare they be diseased,
Seme with mean fare be scant appeased,"
6 INTRODUCTION,
adds wifh truly Elizabethan freedom —
" But of all somes none is displeased
To be welcome. " *
In the second place, every variety of apparent grammatical
inaccuracy meets us. He for him, him for he; spoke and
took, for spoken and taken; plural nominatives with singular
verbs ; relatives omitted where they are now considered
necessary ; unnecessary antecedents inserted ; shall for will^
should for would, would for wish; to omitted after " \<
ought" inserted after " I durst; " double negatives ; double'
comparatives (" more better," &c.) and superlatives ; szich
followed by which, that by as, as used for as if; that for so
that; and lastly, some verbs apparently with two nomina-
tives, and others without any nominative at all. To this
long list of irregularities it may be added that many words,
and particularly prepositions and the infinitives of verbs,
are used in a different sense from the modern. Thus —
** To fright you thus methinks I am too savage," — '
Macb. iv. 2. 70.
does not mean " I am too savage to fright you." " Re-
ceived ^ the most pious Edward" (170) does not mean
^^from Edward," but ^^ by Edward;" and when Shakespeare
says that " the rich " will not every hour survey his treasure,
^^for blunting the fine point of seldom pleasure," he does
not mean "for the sake of," but "for fear of" blunting
pleasure.
On a more careful examination, however, these apparently
disorderly and inexplicable anomalies will arrange themselves
under certain heads. It must be remembered that the Eliza-
bethan was a transitional period in the history of the English
language. On the one hand, there was the influx of new dis-
coveries and new thoughts requiring as their equivalent the
coinage of new words (especially words expressive of abstract
ideas) ; on the other hand, the revival of classical studies and
the popularity of translations from Latin and Greek authors
• Compare "More by all mores." — T. N. \. i. 139.
INTRODUCTION, 7
suggested Latin and Greek words (but principally Latin) as
the readiest and most malleable metal, or rather as so many-
ready-made coins requiring only a slight national stamp to
prepare them for the proposed augmentation of the currency
of the language. Moreover, the long and rounded periods
of the ancients commended themselves to the ear of the
Elizabethan authors. In the attempt to conform English
to the Latin frame, the constructive power of the former
language was severely strained.
The necessity of avoiding ambiguity and the difficulty of
connecting the end of a long sentence with the beginning,
gave rise to some irregularities, to the redundant pronoun
(242), the redundant Hhaf (285), and the irregular '■to' (416).
But, for the most part, the influence of the classical lan-
guages was confined to single words, and to the rhythm of
the sentence. The syntax was mostly English both in its
origin and its development, and several constructions that
are now called anomalous (such as the double negative [406]
and the double comparative [409J) have, and had from the
earliest period, an independent existence in English, and
are merely the natural results of a spirit which preferred
clearness and vigour of expression to logical symmetry.
Many of the anomalies above mentioned may be traced
back to some peculiarities of Early English, modified by
the transitional Elizabethan period. Above all, it must be
remembered that Early English was far richer than Eliza-
bethan English in inflections. As far as English inflections
are concerned the Elizabethan period was destructive rather
than constructive. Naturally, therefore, while inflections
were being discarded, all sorts of tentative experiments were
made : some inflections were discarded that we have restored,
others retained that we have discarded. Again, sometimes
where inflections were retained the sense of their meaning
and power had been lost, and at other times the memory
of inflections that were no longer visibly expressed in writing
still influenced the manner of expression. Thus Ben Jonson
writes : —
8 INTR OD UCTION.
"The persons plural keep the termination of the first per-
son singular. In former times, till about the reign of King
Henry VIII. they were wont to be formed by adding en
thus : — Lov^;^, say^«, complain^;/. But now (whatsoever is
the cause) it is quite grown out of use, and that other so
generally prevailed that I dare not presume to set this on
foot again."
He appears to be aware of the Midland plural in en (332)
which is found only very rarely in Spenser and in Pericles of
Tyre, but not of the Northern plural in <?J'(333), which is very
frequently found in Shakespeare, and which presents the
apparent anomaly of a plural noun combined with a singular
verb. And the same author does not seem to be aware of
the existence of the subjunctive mood in English. He
ignores it in his " Etymology of a Verb," and, in the chapter
on " Syntax of a Verb with a Noun," writes as follows : —
" Nouns signifying a multitude, though they be of the
singular number, require a verb plural :
*' ' And wise men rehearsen in sentence,
Where folk be drunken there is no resistance.' " — Lydgate, lib.ii.
And he continues thus : — " This exception is i7i other
nouns also very common, especially when the verb is joined
to an adverb or corijunction : * It is preposterous to execute
a man before he have been condemned.'" It would appear
hence that the dramatist was ignorant of the force of the
inilection of the subjunctive, though he frequently uses it.
Among the results of inflectional changes we may set down
the following anomalies: —
I. Inflections discarded but their power retained. Hence
(^)" spoke" (343) for "spoken," "rid" for "ridden."*
{b) " You ought not walk" for "You ought not walk^;? "
(the old infinitive), {c) The new infinitive (357) "to walk"
used in its new meaning and also sometimes retaining its old
gerundive signification.f {d) To "glad" (act.), to "mad"
■* It should, however, he slated that the n is often dropped in Early English.
+ Morris, "Specimens of Early English," p. xxxiii. Inf. "loven." Gerund,
" to lovene."
INTRoniJCTION, 9
(act.), &c. (290) for to " gladd^«," " madd^w," &c. {e) The
adverbial ^ (i) being discarded, an adjective appears to
be used as an adverb : "He raged more fierce ^^ &c.
(/) "Other" is used for "other(e)," pi. "other n\en," &c.
(^) The ellipsis of the pronoun (399) as a nominative may
also be in part thus explained.
II. Infiectiotis retained with their old power.
{a) The subjunctive inflection frequently used to express a
condition — '■''Go not my horse," for ^^ If ray horse go not."
Hence {b) as with the subj. appears to be used for as if, and
for and if but (in the sense of except) for except if &c.
{c) The plural in enj very rarely, {d) The plural in es or
s ; far more commonly, {e) His used as the old genitive of
he for of him. Me, him, &c. used to represent other cases
beside the objective and the modem dative : " I am ap-
pointed him to murder you."
III. Infections retained but their power diminished
or lost.
(a) Thus ^he' for ' hifn,' 'him' for 'hej^ '/' for ' me,^
* me' for '/,' &c. (b) In the same way the s which was the
sign of the possessive case had so far lost its meaning that,
though frequently retained, it was sometimes replaced (in
mistake) by his and her.
IV. Other anomalies may be explained by reference to the
derivations of words and the idioms of Early English.
Hence can be explained {a) so followed by as; {b) such
followed by which (found in E. E. sometimes in the form
whuch or wuch) ; {c) that followed by asj (d) who follo\^'ed
by hey (<?) the which put for which; (_/) shall for will, should
for would, and would for wish.
The four above-mentioned causes are not sufficient to
explain all the anomalies of Elizabethan style. There are
several redundancies, and still more ellipses, which can oaly
be explained as follows.
V. {a) Clearness was preferred to grammatical correct-
ness, and {b) brevity both to correctness and clearness.
Hence it was common to place words in the order in whicli
lo INTRODUCTION.
they came uppermost in the mind without much regard to
syntax, and the result was a forcible and perfectly unambi-
guous but ungrammatical sentence, such as :
(a) "The prince that feeds great natures they will sway him."
B. J. Scjanus
{b) As instances of brevity : —
*' Be guilty of my death since of my crime." — R. of L.
" It cost more to get than to lose in a day." — B. J. Poetaster.
VI. One great cause of the difference between Elizabethan
and Victorian EngHsh is, that the latter has introduced or
developed what may be called the division of labour. A few
examples will illustrate this.
The Elizabethan subjunctive (see VERBS, Subjunctive)
could be used (i) optatively, or (2) to express a condition or (3)
a consequence of a condition, (4) or to signify purpose after
" that." Now, all these different meanings are expressed by
different auxiliaries — ^' would t\\2iX. \" " should he. come," "he
would find," " that he may see," — and the subjunctive inflec-
tion is restricted to a few phrases with " if." " To walk " is
now either (i) a noun, or (2) denotes a purpose, " in order to
walk." In Elizabethan English, "to walk" might also denote
" by walking," "as regards walking," "for walking;" a licence
now discarded, except in one or two common phrases, such
as " I am happy to say," &c. Similarly, Shakespeare could
write "<?/■ vantage" for "frojn vantage-ground," "^charity"
for "for charity's sake" "of mine honour" for "on m.y
honour," "^purpose " for " on purpose," " of the city's cost"
for "at the city's cost," "of his body" for "as regards his
life," "made peace <?/" enmity" for "peace instead of enrmty,'^
" we shall find a shrewd contriver of him " for " in him,"
" did I never speak of all that time " for " during all that
time." Similarly " by " has been despoiled of many of its
powers, which have been divided among "near," "in accord-
ance with," " by reason of," " owing to." " But " has been
forced to cede some of its provinces to " unless " and " ex-
cept." Lastly, "that," in Early English the only relative,
INTR OD UC TIOK 1 1
had been already, before the Elizabethan times, supplanted in
/many idioms by "who" and "which;" but it still retained
its meanings of "because," "inasmuch as," and "when;"
sometimes under the forms " for that" " in t/iaty" sometimes
without the prepositions. These it has now lost, except in
a few colloquial phrases.
As a rule, then, the tendency of the English language has
been to divide the labour of expression as far as possible by
diminishing the task assigned to overburdened words and
imposing it upon others. There are, of course, exceptions to
this rule — notably " who " and " which ; " but this has been
the general tendency. And in most cases it will be found
that the Victorian idiom is clearer but less terse than the
corresponding Elizabethan idiom which it has supplanted.
VII. The character of Elizabethan English is impressed
upon its pronunciation, as well as upon its idioms and words.
As a rule their pronunciation seems to have been more rapid
than ours. Probably the greater influence of spoken as
compared with written English, sanctioned many contractions
which would now be judged intolerable if for the first time
introduced. (See 461.) This, however, does not explain the
singular variation of accent upon the same words in the
same author. Why should " exile," " aspect," " confessor,"
and many other words, be accented now on the first, now
on the second syllable .'* The answer is, that during the
unsettled Elizabethan period the foreign influence was
contending with varying success against the native rules of
English pronunciation. The English rule, as given by Ben
Jonson, is definite enough. " In dissyllabic simple nouns "
(by which it is to be supposed he means un-compounded),
"the accent is on the first, as 'belief,' 'honour,' &c." But he
goes on to say, that " all verbs coming from the Latin, either
of the supine or otherwise, hold the accent as it is found in
the first person present of those Latin verbs." Hence a
continual strife over every noun derived from Latin parti-
ciples : the English language claiming the new comer as her
naturalized subject, bound by English laws; the Latin, on the
12 INTRODUCTION
other hand, asserting a partial jurisdiction over her emigrants.
Hence access and access^ precept dJidi pre'cept, contrdct (noun)
and cdntract, instinct and instiftct, relapse and relapse. The
same battle raged over other Latin words not derived from
participles : co7nmdrce and commerce, obdurate and obdurate^
sepiilchre and sepulchre, contrary and contrary, authdrize
and authorize, per sever dmd persevere, confessor and confhsor.
The battle terminated in a thoroughly English manner. An
arbitrary compromise has been effected between the com-
batants. Respect, relapse, stucess, successor, were ceded to the
Latin: dspect, cdllapse^ dccess, sepulchre, were appropriated
by the English. But while the contest was pending, and pri-
soners being taken and retaken on either side, we must
not be surprised at finding the same word ranged now under
native, now under foreign colours.
VII L Words then used literally a7'e now used metaphori-
cally, and vice versa.
The effect of this is most apparent in the altered use of
prepositions. For instance, " by," originally meaning " near,"
has supplanted " of" in the metaphorical sense of agency, as
it may in its turn be supplanted by " with " or some other
preposition. This is discussed more fully under the head of
prepositions (138). Here a few illustrations will be given from
other words. It is not easy to discover a defined law
regulating changes of metaphor. There is no reason why
we should not, with Beaumont and Fletcher, talk of living
at a ^^deep^ rate" as well as a ^^ high rate." But it will
be found with respect to many words derived from Latin and
Greek, that the Elizabethans used them literally and gene-
rally ; we, metaphorically and particularly. Thus " meta-
physical " was used by Shakespeare in the broader meaning
of " supernatural ; " and " fantastical " could be appHed even
to a murder, in the wide sense of " imagined." So " exor-
bitant " was "out of the path," "uncommon," now only
* Collapse IS accented on the last syllable in most dictionaries.
t " How brave lives he that keeps a fool, although the rate be deeper.
But he that is his own fool, sir, does live a great deal cheajjer."
INTRODUCTION. 13
applied to that which is uncommonly "expensive." So
extravagant (" The extravagant and erring spirit," Hamlet^
i. i) has been restricted to " wandering h&yowd. the bounds
of economy." "To aggravate" now means, except when
applied to disease, " to add to the mental burdens of any
one," hence " to vex ;" but in Sonn. 146 we find " to aggra-
vate thy store " in the literal sense of " to add to the
weight of" or "increase." So "journall" meant "diurnal"
or " daily ; " now it is restricted to a " daily " newspaper or
memoir. The fact is that, in the influx of Greek and Latin
words into the English language, many were introduced to
express ideas that either could be, or were already, expressed
in the existing vocabulary. Thus we do not require " meta-
physical " to express that which is supernatural, nor " fantas-
tical" to express that which is imagined; "exorbitant" is
unnecessary in the sense of " uncommon ; " " extravagant "
(though it has a special force in ** the extravagant and erring
spirit," Hajnlet, i. i) is not in most cases so obvious as
"wandering ;" "increase" is simpler than " aggravate," and
"daily" more English than "diurnal." Similarly "specula-
tion " is unnecessary to express the power of seeing, " adver-
tised" useless in the sense of "warned" or "informed" {Lear,
iv. 6. 214), "vulgar" in the sense of common. Such words,
once introduced into the language, finding the broader room
which they had been intended to fill already occupied, were
forced to take narrower meanings. They did this, for the
most part, by confining themselves to one out of many
meanings which they had formerly represented, or by adopt-
ing metaphorical and philosophical instead of literal and
material significations ; and as the sense of their derivation
and original meaning became weaker, the transition became
easier. This is not merely true of words derived from Latin
and Greek. " Travail," for example, finding itself supplanted
in its original sense by " work " or " labour," has narrowed
itself to a special meaning : the same is true of " beef,"
" pork," &c.
On the other hand, some Latin and Greek words that
14 INTRODUCTION.
express technicalities have, as the sense of their exact
meaning was weakened, gradually become more loosely and
generally used. Thus, " influence " means now more than
the mere influence of the stars on men ; " triumph," " pre-
posterous,''' "pomp," " civil," "ovation," and "decimate," have
lost much of their technical meaning. Of these words it
may be said, that Shakespeare uses them more literally and
particularly than we do. Thus, " triumph " is used for a
show at a festival ; " civil " is used for peaceful ; " pre-
posterous ass" {T. of Sh. iii. i. 9) is applied to a man who
put music <^<^<?r^ philosophy ; "decimation " {T. of A. v. i. 31)
is used in its technical sense for " a tithed death."
One cause that has affected the meaning of Latin-derived
words has been the preference with which they have been
selected in order to express depreciation. This has narrowed
some v/ords to an unfavourable signification which they did
not originally possess. Thus, " impertinent " in Elizabethan
authors meant "not to the point;" "officious" could then
mean " obliging," and a clever person could be described as
" an admirable conceited fellow " ( W. T. iv. 4. 203).
A classical termination (446) may sometimes be treated
as active or as passive. Hence "plausibly" is used for "with
applause" actively.
"The 'KoxazxiS. plausibly did give consent." — R. of L.
* * A very inconsiderate (inconsiderable) handful of English. "
N. P. Appendix 31.
Thus, on the one hand, we have " ^uxwe eyes " (eyes flowing
with tears : L. C. 8), and on the other the more common
passive sense, as " the inexpressive she " (the woman whose
praises cannot be expressed).
With respect to words of English or French origin, it is
more difficult to establish any rule. All that can be said is
that the Elizabethan, as well as the Victorian meaning, may
be traced to the derivation of the word. Why, for instance,
should not Ben Jonson write —
*' Frost fearing myrtle shall impale my head." — Poetast. i. i.
INTROD UCTION: i 3
i.e, "take in within its pale, surround," as justifiably as we
use the word in its modern sense of " transfixing ? " Why
should not sirens "train" {draw or decoy — trahcre) their
victi-ms to destruction, as well as educators "train" their pupils
onward on the path of knowledge ? We talk of " a world of
trouble " to signify an infinity ; why should not Bacon {E. 38)
talk of "a globe of precepts?" Owing to the deficiency of
their vocabulary, and their habit of combining prepositions
with verbs, to make distinct words almost like the Germans,
the Elizabethans used to employ many common English
words, such as "pass," "hold," "take," in many various
significations. Thus we find "take" in the sense of (i)
"bewitch;" (2) "interrupt" ("You take him too quickly,
Marcius," B.J. Poetast.) ; (3) "consider" (" The whole court
shall take itself abused," B. J. Cy.'s Rev. v. i) ; (4) " under-
stand " (" You'll take him presently," E. out &^c. i. i) ; and
(5) "resort to" ("He was driven by foule weather to take
a poor man's cottage," N. P. 597). With prepositions the
word has many more meanings. " 7>z/6^ out "=" copy ;"
" /^^^in"=" subdue ;" ''take up " = "borrow ;" ''take in with "
(Bacon) = " side with;" "take up"="pull up" of a horse.
And these meanings are additional to the many other
meanings which the word still retains. To enter further into
tlie subject of the formation and meaning of words is not the
purpose of this treatise. The glossaries of Nares and Halli-
well supply the materials for a detailed study of the subject.
One remark may be of use to the student before referring him
to the following pages. The enumeration of the points of
difference between Shakespearian and modern English may
seem to have been a mere list of irregularities and proofs of
the inferiority of the former to the latter. And it is true that
the former period presents the English language in a tran-
sitional and undeveloped condition, rejecting and inventing
much that the verdict of posterity has retained and discarded.
It was an age of experiments, and the experiments were not
always successful. While we have accepted copious, inge-
nious, disloyal^ we have rejected as useless copy (m the sense
■ l6 INTRO D UCTION:
of "plenty"), ingin^ and disnoble. But for freedom, for brevity
and for vigour, Elizabethan is superior to modern English.
Many of the words employed by Shakespeare and his con-
temporaries were the recent inventions of the age ; hence they
were used with a freshness and exactness to which we are
strangers.* Again, the spoken Enghsh so far predominated
over the grammatical English that it materially influenced
the rhythm of the verse (see Prosody), the construction of
the sentence, and even sometimes (460) the spelling of words.
Hence sprung an artless and unlaboured harmony which
seems the natural heritage of Elizabethan poets, whereas
such harmony as is attained by modern authors frequently
betrays a painful excess of art. Lastly, the use of some few
still remaining inflections (the subjunctive in particular), the
lingering sense of many other inflections that had passed
away leaving behind something of the old versatility and
audacity in the arrangement of the sentence, the stern sub-
ordination of grammar to terseness and clearness, and the
consequent directness and naturalness of expression, all con-
spire to give a liveliness and wakefulness to Shakespearian
English which are wanting in the grammatical monotony of
the present day. We may perhaps claim some superiority
in completeness and perspicuity for modern English, but if
we were to appeal on this ground to the shade of Shake-
speare in the words of Antonio in the Tempest^ —
*' Do you not hear us speak ?"
we might fairly be crushed with the reply of Sebastian —
" I do ; and surely
It is a sleepy language. "
* Exceptions are "eternal" used for "Infernal" (C>. iv. 2, 130; J. C. i. 7.
XBO; Ha47ilet, i. 5. 21); "triple" for "third" [A. W. ii. i. Ill); "temporary"
for " temporal " {M. Jbr M. v. i. 145); "important" for "importunate" (Z^«r,
iv. 4. 26) ; " expiate " for "expired " {Rich. III. iii. 3. 23) ; " colleagued" {Hantlet,
i. 2. 21) for "co-leagued ;" "importing" {ib. 23) for "importuning." The Folio
has "Pluto's" for "Plutus" (5^. C. iv. 3. 102).
GRAMMA R.
ADJECTIVES.
1. AidjectiveS are freely used as Adverbs.
In Early English, many adverbs were formed from adjectives by
adding e (dative) to the positive degree : as bright, adj.; brighte, adv.
lu time the e was dropped, but the adverbial use was kept. Hence,
from a false analogy, many adjectives (such as excellent) which could
never form adverbs in e, were used as adverbs. We still say col-
loquially, "come quick;" "the moon shines bright,^^ &c. But
Shakespeare could say:
"Which the false man does easy^ — Macb. ii. 3. 143,
** Some will dear abide it." — y. C. iii. 2. 119.
" Thou didst it excellent:'— T. of Sh. i. i. 89.
"Which else should /r^^? have wrought." — Macb. ii. i. 19.
"Raged t^oxq fierce.'''' — Rich, II. ii. i. 173.
"Grow not instant old." — Ham. i. 5. 94.
**'Tis noble spoken."— .4. and C. ii. 2. 99.
"Did I expose myself /^-r^ for his love."— 7". N. v. i. 86.
" Equal ravenous as he is subtle." — Hen. VIII i. r. 159.
We find the two forms of the adverb side by ^ide in :
" She was new lodged and newly deified." — L. C. 84.
The position of the article shows that mere is an adverb in :
"Ay, surely, viere\}cLe. truth." — A. W. iii. 5. 58.
So " It shall safe be kept."— C>/«(5. i. 6. 209.
" Heaven and our 'La.dy gracious has it pleas'd."
I lieu. VI. i. 2 7i.
" (I know) when the blood bums htcm prodigal the soul
Lends the tongue vows." — Hamlet, i. 3. 116.
C
1 8 SHA KESPEAFTAN GRAMMAR.
Such transpositions as "our lady gracious," (adj.) where
"gracious" is a mere epithet, are not common in Shakespeare.
(See 419.) In
" My lady sweet, arise," — Cynih. ii. 3. 29.
**My-lady" is more like one word than "our lady," and is aiso
an appellative. In appellations such transpositions are allowed.
(Seers.)
Sometimes the two forms occur together :
"And she will speak most bitterly and strange.''''
M. for M. V. I. 36.
2. Adjectives compounded. Hence two adjectives were freely
combined together, the first being a kind of adverb qualifying the
second. Thus :
" I am too sudden-bold.''' —L. L. L. ii. i. 107.
'''Fertile-freshr—M. W. of W. v. 5. 72.
*' More active-valiant or more valiant-young."
I Hen. IV. V. i. 90.
'' Daring-hatdy."—Rich. IT. i. 3. 43.
** Hojiourable-dajtgerous.^^ — y. C. i. 3. 124. See ib. v. I. 60.
"He Hes crafty-sick."— 2 Hen. IV. Prol. 37.
" I am too childish-foolish for this world." — R. III. i. 3. 142.
"You are too senseless-obstinate^ my lord." — R. III. iii. i. 44.
"That fools should be so deep-conte?7iplative." — A. Y. ii. 7. 31.
*' Gloiic. Methinks the ground is even.
Edg. Horrible-steep." — Lear^ iv. 6. 3.
In the last example it is hard to decide whether the two adjec-
tives are compounded, or (which is much more probable) "horrible"
is a separate word used as in (i) for "horribly," as in T. N. iii.
4. 196. In the West of England "terrible" is still used in this
adverbial sense.
There are some passages which are only fully intelligible when
this combination is remembered :
"A strange tongue makes my cause more strans^e-suspicious."
Hen. YlII iii. i. 45.
Erase the usual comma after ^' strattge."
" Here is a siliy -stately style indeed." — i Hen. VI. iv. 7. 72.
Periiaps " He only in ^ general -Jionest thought." — J. C v. 5. 71.
ADJECTIVES, 19
3. Adjectives, especially those ending va. ful, hs:, hie, and ive^
liave both an active and a passive meaning ; ' just as we still say,
** a^^^r^/ (pass.) coward," and ^* a. fearful {z.ct.) danger."
" To throw away the dearest thing he owed,
As 'twere a careless trifle." — Macbeth, i. 4. 11,
•* Sxkch. helpless harmes yt's better hidden keep." — Spen. F. Q. i. 5.42.
** Even as poor birds deceived with painted grapes.
like those poor birds that helpless berries saw,"
V. and A. 604 ; Rich. III. i. 2. 13.
•* Upon the sightless couriers of the air." — Macbeth, i. 7. 23.
*' How dare thy joints forget
To pay their «w;^/ duty to our presence? " — Rich. II. iii. 3. 76.
*' Terrible" is "frightened" in Lear, i. 2. 32; ''dreadful,^
"awe-struck," Hamlet, i. 2. 207; 'UhankfuP^ is "thankworthy,"
P.ofT.y. I. 285. So '' unmeritable'' (act. Rich. III. iii. 7. 1.55 ;
y. C. iv. I. 12) ; '' medicinable'' (act. Tr. and Cr. iii. 3. 44); ''sen-
sible" (pass. Macb. ii. I. 36; Hamlet, i. I. 67); '' insupp/essive^^
(pass. y. C. ii. 1. 134) ; "■plausive" (pass, Hamlet, i. 4. 30) ; ''imcom*
prehtnsive'''' (pass, 7>'. a«^ (7r. iii. 3, 198) ; ''respective" (act, R. and
J. iii. I. 128 ; pass. T. G. of V. iv, 4, 200) ; " unexpressive" (pass.
A. Y. L. iii. 2, 10); "comfortable" (act. Z^ar, i. 4, 328); " dcceiv-
able'' (act. ^. 77. ii. 3. 84; T. N. iv. 3. 21).
"Probable," "contemptible," and "artificial," are active in —
"The least of all these signs y^^xt. probable." — 2 Hen. VI. iii. 2. 178.
**'Tis very probable that the man will scorn it, for he hatb
a very contemptible s\)ix\t." — M. Ado, ii. 3. 188.
"We, Hermia, like two artificial gods
Have with our needles created both one flower. "
M. N. D. iii. 2. 204.
Hence even "The intreivchant air," — Macbeth, v, 8. 9.
"Unprizable" (71 N. v. i. 68) means "not able to be made a
prize of, captured."
"Effect" {Rich. III. i. 2. 120) seems used for "effecter" cr
** agent " if the text is correct.
4. Adjectives signifying effect were often used to signify the
cause. This is a difference of thought. We still say "pale death,"
** gaunt famine," v/here the personification is obvious ; but we do not
say—
C 2
20 SHAKESPEARIAN GRAMMAR.
** Oppress'd with two weak evils, age and hunger."
A. Y. L. il 7. 132.
** Like as a sort of hungry dogs ymeti
Doe fall together, stryving each to get
The greatest portion of \he greedie pray."
Spens. F. Q. vi. II. 17.
" And barren rage of death's eternal cold." — Soitn. 13.
Nor should we say of the Caduceus —
*' His sleepy yerde in hond he bare upright." — Chauc. C. T. 1390.
Compare also " Sixth part of each !
A trembling contribution ! " — Hen. VIIT. i. 2. 95.
Here "trembling" is used for *' fear-inspiring."
So other Elizabethan authors (Walker): "idle agues," "rotten
showers," "barren curses."
5. Adjectives are frequently used for Nouns, even in the
singular.
"A sudden /a/^ usurps her cheek." — V. and A.
' ' Every Roman's private (privacy or private interest). "
B. J. Sejan. iii. I.
" 'Twas caviare to the gcTteral." — Hamlet, ii. 2. 458.
** Truth lies open to all. It is no man's severaV — B. J. Disc. 742 b.
" Before these bastard signs of y^zV (beauty) were born." — Sonn. 68.
So ''fair befal," Rich. II. ii. I. 129 ; Rich. III. i. 3. 282. But
see 297.
"Till fortune, tired with doing bad^
Threw him ashore to give him glad.'''' — P. of T. ii. Gower, 37.
"That termless (indescribable) hand
Whose bare outbragg'd the web it seem.'d to wear." — L. C. 95.
" la/^y" = "in 5hoxt."—Haf?ilet, i. 3. 126 ; Temp. i. 2. 144
" Small (little) have continual plodders ever won."
Z. L. L. i. I. 86.
" By small ^nd. small."— Rich. IL iii. 7. 198 ; Rich. Ill i. 3. 111.
" Say what you can, vay false o'erw^eighs your triie.'^
M. for M. ii. 4. 1 70.
"I'll make division oi my present (money) with you."
T. N. iii. 4. 380.
If the text were correct, the following would be an instance of
an adjective inflected like a noun :
" Have added feathers to the learned's w'ng." — Sonn. 78.
But probably the right readii)g is " learned'st."
ADJECTIVES. 21
"Wont," the noun {Hamlet, i. 4. 6), is a corruption from
"woned," from the verb "wonye" E. E., "wunian" A.-S., "to
dwell." Compare ^0oy.
6. Adjectives comparative. The inflection er instead of inort
is found before " than."
** Sir, your company is fair^ than honest." — M. for M. iv. 3. 185.
The comparative **more wonderful" seems to be used, as in
Latin, for "more wonderful than usual," if ihe following line is to
be attributed to Cicero as in the editions :
** Why, saw you anything more wondi rftil?" — J. C. i. 3. 14.
In Hamlet iv. 7. 49, " my sudden and more strajige return," means
** sudden, and even more strange than sudden."
7. The comparative inflection-*?^ was sometimes used even
when the positive ended m-ing,-ed,-id,-ain,-st,-ect. These termina-
tions (perhaps because they assimilate the adjective to a participle by
their sound) generally now take " more."
''Uorxider," Cymb. iv. 2. 331 ; "curj-^^," T. of Sh. iii. 2. 156 ;
"perf^r^^-," CorioL ii. I. 91 ; "cert«/«^r," M. Ado, v. 3. 62.
8. Superlative. The superlative inflection est, like the Latin
superlative, is sometimes used to signify "very," with little or no
idea of excess.
" A little ere the mightzVj/ Julius fell." — Hamlet, i. i. 114.
"My vavXest conscience" {Cymb. i. 6. 116) may perhaps mer.n
" the. mutest part or corner of my conscience," like "summus
mons."
9. The superlative inflection est is found 2iiier-ent,-ing,-edf
-ect. Thus, " viokw/d'j/ " {CorioL iv. 6. 73) ; " cursff^ji* " {M. of V. ii.
I. 46) ; " \jingest'' {T. of Sh.i. 2. 25) ; " ^er^ectest," {Macb. i. 5. 2).
This use of -est and -er (see 7) is a remnant of the indiscriminate
application of these inflections to all adjectives which is found
in Early English. Thus, in Piers Plozvman, we have "avarous^t-"
(B. I 189), " merveillous^j-r " (B. viii. 68).
10. The superlative was sometimes used (as it is still, but
with recognized incorrectness) where only two objects are compared.
22 SHAKESPEARIAN GRAMMAR.
" Between two dogs which hath the deeper mouth,
Between two blades which bears the better temper,
Between two horses which doth bear him best.
Between two girls which has the merr/<?j-/ eye."
I Hen, VL ii. 4- 15.
**Not to bestow my youngest daughter
Before I have a husband for the elder." — T. of Sh. i, I. 50.
"Of two usuries, the merriest was put down, and the woisei
allowed."— J/. ybr J/, iii. 2. 7.
Here it seems used for variety to avoid the repetition of the com-
parative.
11. Comparative and superlative doubled.— The inflections
,^r and -est, which represent the comparative and superlative degrees
of adjectives, though retained, yet lost some of their force, and
sometimes received the addition of more^ most, for the pui-pose of
greater emphasis.
" A more larger list of sceptres." — A. and C. iii. 6. 76.
''■ More elder:'— M. of V. iv. i. 251.
'' More better:'— Temp. i. 2. 19.
'•'■ More nearer :' — Hamlet, ii. I. 11.
''i:\^y most worst:'— W. T. iii. 2. 180.
*^ More braver:'— Temp. i. 2. 439.
"With the most boldest:'— J. C. iii. i. 121.
'' Most unkindest:' —y. C. iii. 2. 187.
•* To some more fitter place." — M. for M. ii. 2. 16.
** I would have been much triore 2l fresher man."
Tr. and Cr. v. 6. 21.
Ben Jonson speaks of this as " a certain kind of English atticism,
imitating the manner of the most ancientest and fiitest Grecians."-—
B. J. 786. But there is no ground for thinking that this idiom was
the result of imitating Greek. We find Bottom saying :
"The more better assurance." — M. N. D. iii. i. 4.
Note the anomaly : ^^ Less happier lands." — R. II. ii. i. 49.
12. The Adjectives all, each, both, every, other, are some-
times interchanged and used as Pronouns in a manner difTcrent
from modern usage.
All for any :
"They were slaine without all mercie." — IIolinsiied.
"Without a// bail."— ^i?//;/. 74.
ADJECTIVES, 23
" Without all reason."— AscH, 48.
(Comp. in Latin "sine omni, &c.") Heb. vii, 7 : WicklifTe, *' with-
outen ony agenseiyinge ;" Rheims, Geneva, and A. V. *' without all
contradiction."
This construction, which is common in Ascham and Andrewes, is
probably a Latinism in those authors. It may be, however, that in
"things without all remedy," Macb. iii. 2. 11, "without" is used ia
the sense of " outside," " beyond." See Without (i97).
All for every :
** Good order in all thyng." — AsCH. 62.
*• And all thing unbecoming." — Macb. iii. I. 14.
We still use "all" for "all men." But Ascham (p. 54) wrote:
**/// commonlie have ov&c much wit," and (p. 65) ^^ Infinite shall
be made cold by your example, that were never hurt by reading of
bookes." This is perhaps an attempt to introduce a Latin idiom.
Shakespeare, however, writes :
" What ever have been thought on." — Coriol. i. 2. 4.
Each for "all" or "each one of:"
"At each his needless heavings." — W, T. ii. 3. 35.
So every {l-e. *' ever-ich," " ever-each ") :
*^ Of every these happen'd accidents." — Temp. v. i. 249.
And "none :" ^^ None our parts." — A. and C. i. 3. 36.
Each for "both:"
" And each though txiemtes to either' s reign
Do in consent shake hands to torture me." — Sotm. 28.
**■ Each in her sleep themselves so beautify." — R. of L. 404.
"Tell me
In peace what each of them by the other lose.^'' — Coriol. iii. 2. 44,
This confusion is even now a common mistake. Compare
"How pale each worshipful and rev' rend guest
Rise from a Clergy or a City feast." — Pope, Imit. Ilor. ii. 75.
Each for " each other : "
" But being both from me, both to each friend." — Sonn. .^44.
(n<*. both friends each to the other.)
Both seems put for " each," or either used for " each other," lO
" They are both in either' s powers." — Temp, i. 2. 450.
24 SFIAKESPEARIAN GRAMMAR.
There may, however, be an ellipsis oieach after both :
" They are both (each) in either's powers."
Compare " A thousand groans
Came (one) on another's neck." — Sonn, 131.
It is natural to conjecture that this is a misprint for "one or
other's." But compare
*• I think there is not half a kiss to choose
Who loves another best."— ^ T. iv. 4. 176. (See 88 )
Every one, Other, Neither, are used as plural pronouns :
" And eveiy one to rest themselves betake.'''' — R. of L.
*' jEz/^y ^«^ of these considerations, syr, 7nove xa.t."^ — AsCH. Dedic
^'■Everything
In readiness for Hymenseus stand." — T. A. i. I. 325.
** Smooth every passion
That in the nature of their lord rebeV —Lear, ii. 2. 82.
" Every " is a pronoun in
*' If every of your wishes had a womb."
A. a7ui C. i. 2. 38 ; A. Y. L. v. 4. 178.
" Thersites' body is as good as Ajax'
When neither are alive." — Cymb. iv. 2. 252.
" Other \\^NQ authoritie."— AsCH. 46.
•' And therefore is the glorious planet Sol
In noble eminence enthron'd and spher'd
Amidst the other:'— Tr. and C. i. 3. 89.
Other is also used as a singular pronoun (even when not preceded
by "each"):*
'* Every time gentler than other P— J. C. i. 2. 231.
'* With greedy force each other doth assail." — Spens. F. Q. i. 5. 6,
ie. "each doth assail ^/^(? other."— >^?V/i. //. i. i. 22.
** We learn no other but the confident tyrant
Keeps still in Dunsinane." — Macb. v. 4, 8.
' ' He hopes it is no other
But, for your health and your digestion's sake,
An after-dinner's breath." — Tr. and Cr. ii. 3. 120.
**If you think other.'" — Othello, iv. 2. 13.
"Suppose no <?/^^." — A. W^. iii. 6. 27.
• It is used as a singular adjective, without the article, in Cymb. iii 4. J 44:
" You think of <7/Atfr place."
ADJECTIVES. 25
In the two last passages ** other" may be used adverbially for
"otherwise," as in Macbeth, i. 7. 77, which may explain
"They can be meek that have no other cause." — C. of E. ii. i. 33.
i.e. "no cause otherwise than for meekness."
The use of all{e) and other{e) as plural pronouns is consistent with
ancient usage. It was as correct as "omnes " and " alii" in Lctiu,
as "alle"and "andere" in German. Our modern ^''others said"
is only justified by a custom which might have compelled us to say
'■^ manys''^ or *^ alls said," and which has induced us to say "our
betterj," though not (vsdth Heywood) "our bigger^-." The plural
use of neither^ "not both," depends on the plural use of either for
" both," which is still retained in " on either side," used for "on both
sides." This is justified by the original meaning of ei-ther^ i.e.
*' every one of two," just as whe-ther means "which of two."
"Either" in O.E. is found for "both." Similarly we say ^' notte
were taken" instead of " none {no one) was taken." We still retain
the use of other as a pronoun without the in such phrases as " they
saw each other, ''^ for " they saw each the other." Many is also used
as a noun. (See 5.) Hence we have :
" In many's looks." — Sonn. 93.
Beside the adjective "mani," "moni" {many), there was also in
Early English the noun "manie" or "meine" (multitude, from Fr,
"maisgnee," Lat. "minores natu "). But it is doubtful whether
this influenced the use just mentioned.
13. The possessive Adjectives, when unemphatic, are some-
times transposed, being really combined with nouns (like the French
monsieur, milord).
''T)Qsxmyiord:'—y. C. ii. i. 255.
" Good 7Jiy brother." — Hamlet, i, 3. 46.
" Sweet my mother P—R. and J. iii. 5. 200,
"Oh ! poor our sex.''— Tr. and Cr. v. 2. 109.
" Art thou that my lord Elijah?" — I Kings xviii. 7.
"Come, mir queen." — Cymb. ii. 3. 68.
So probably, vocatively :
" Tongue-tied ^«r ^z/^(?;? speak thou. " — W. T. i. I. 27.
Compare "Come on, our queen." — Rich. II. i. 2, 222.
"Good my knave." — L. L. L. iii. i. 168.
26 SHAKESPEARIAN GRAMMAR,
** Good, my frieiids.^^ — Coriol. v. 2. 8.
^^ Good your highness, patience." — A. ajid C. ii. 5. 106.
"Good my girl."— 1 Hen. VI. v. 4. 25.
Hence, by analogy, even
"Good my mouse of virtue."— 2". N. i. $. 69.
The emphatic nature of this appellative "good" is illustrated by
" Good novr, sit down." — Hamlet, i. i. 70:
where the noun is omitted. So W. T. v. i. 19 ; Tempest, i. i. 16,
" Gunnow " (good now) is still an appellative in Dorsetshire.
Sometimes, but very rarely, the possessive adjective used vcca»
lively is allowed to stand first in the sentence :
" Our very lovuig sister, well be met." — Lear, v. I. 20.
It is possible that this use of "my," "our," &c. maybe in part
explained from their derivation, since they were originally not
adjectives, but the possessive cases of pronouns. Thus, "sweet my
mother," = "sweet mother of me," or "sweet mother mine."
Similar vocatives are
" The last of all the Romans, fare thee well."— y. C. v. 3. 99.
" Thejetvels of our father, with wash'd eyes,
Cordelia leaves you." — Lear, i. i. 271.
So Folio, " Take that, the likeness of this railer here."
3 JLen. VL v. 5. 38 (Globe "thou").
14. The Adjectives just, mere, proper, and very were
sometimes used as in Latin.
Just = exact. " A y«j^ seven -night." — M. Ado, ii. i. 375.
"AyWpound."— ^. of V. iv. i. 327.
Whereas we retain this sense only in the adverbial use, *^ just a
week." Compare "justum iter."
15. Mere = "unmixed with anything else: "hence, by inference,
**mtact," "complete."
"The w<?r<? perdition of the Turkish fleet." — 0. ii. 2. 3.
i.e. the " complete destruction. "
" Strangely- visited people.
The w^^ despair of surgery." — Macbeth, iv. 3. 132.
le. "the utter despair." So Ric/i. ILL iii. 7. 263.
The word now means "unmixed," and therefore, by inference^
ADyECTIVES. 27
** nothing but," "bare," "insignificant." But, in accordance with
its original meaning, "not merely ^^^ in Bacon, is used for "not
entirely" So Hamlet, i. 2. 137.
16. Proper = "peculiar," "own,"
*' Their /r^<?r selves." — Temp. iii. 3. 60.
"With my proper \v7m^.'"—Cyi7ib. iv. 2. 97; T. N. v. I. 327.
ue. " with my own hand," as in French. So J. C. i. 2. 41, v. 3. 96.
Very = "true." " My very friends." — M. of V. iii. 2. 226.
17. More {mo-re) and most [nio-st) (comp. E. E. ma or mo ;
mar or mar ; rnaest, mast, or most) are frequently used as the com-
parative and superlative of the adjective "great." \J\Ioe, or mo, as
a comparative {Rich. II. ii. i. 239 ; Rich. III. iv. 4. 199), is con-
tracted from more or mo-er. Compare "bet" for "bett-er," "leng"
for "leng-er," and "streng" for "streng-er," in O. E. See also
*'sith," 62.]
" At our more leisure." — M.for M. i. 3. 49.
"A ///£?;-<? requital." — K. J. ii. I. 34.
" With 7;zd7j'/ gladness." — A. and C. ii. 2. 169.
" Our most quiet " (our very great quiet). — 2 Hen. IV. iv. I. 71.
" So grace and mercy at your most need help you."
Hamlet, i. 5. 180.
Hence we understand :
"Not fearing death nor shrinking for distress.
But always resolute in most extremes." — I Heti. VI. iv. I. 38.
i.e. not " in the majority of extremities," as it would mean with us,
but "in the greatest extremes."
Hence :
" More (instead oi greater) and less came in with cap and knee."
1 Hen. IV. iv. 3. 68.
*' And more and less do flock to foUow him. "
2 Hen. IV. i. I. 209.
" Both more and less have given him the revolt."
Macbeth, v. 4. 12.
That "less" refers here to rank, and not to number, is illustrated by
" What great ones do the less will prattle of." — T. N. i. 2. 33.
So Chaucer :
"The gi-ete giftes to the most and lestc."— C T. 2227.
28 SHAKESPEARIAN GRAMMAR.
18. One is used for "above all," or ^^ alone" i.e. ^'ali-one" in
Elizabethan English with superlatives.
'* He is one the truest manner'd." — Cymb. i. 6. 16-1.
*' One the wisest prince." — Hen. VIII. ii. 4. 49.
** Have I spake one the least word." — lb. 153.
But in Early English one is thus used without a superlative :
*' He one is to be praised."
" I had no brother but him i7?z,?. "
" He was king (7/z^."
(Here \lr, Morris conjectures that the O. E. *'ane" stands for
A.-S. dative "an-um.")
So in I>atin "justissimus unus;" and in Greek ^ovos is similarly
used. So "alone" = " above all things."
"That must needs be sport alone.'" — M. N". D. iii. 2. 119.
**I am alone the villain of the earth." — A. and C. iv. 6. 30.
"So full of shapes is fancy
That it alone is high fantastical." — T. N.\. i. 15.
None. See 53.
19. Right (which is now seldom used as an adjective, except
with the definite article, as the opposite of "^/z^ wrong," e.g. ^'ihe
right way," not "a right way"), was used by Shakespeare, with
the indefinite article, to mean "real," '^ diovfn-right.^^
"I am a right maid for my cowardice." — M. JV. D. iii. 2. 302.
Compare .4. and C. iv. 12. 28, " a rz^/^/ gipsy. " It means "true" in
"A right description of our sport, my lord." — Z. Z. Z. v. 2. 522.
20. Self {se = s^ua [so]; -If. = Germ, leib, "body:" Wedge-
wood, however, suggests the reciprocal pronoun, Lat. se, Germ.
sish, and he quotes, "Et 11 ses cors ira," ue. "and he him self-
will go," Old French, and still retained in Creole patois) was still
used in its old adjectival meaning " same," especially in "one self,''''
I.e. "one and the same," and "that self.'''' Compare the German
"selbe."
"That j^^ chain. "—(7. of E. v. i. IJ).
" That .f^^ mould. "—^zr>^. II. i. 2. 23.
** One self king."— Z: N. x. i. 39.
ADJRCriVES. 29
Compare 3 Hen. VI. iii. i. 11; A. and C. v. i. 21 ; M. ofV. i
I. 148.
Hence we can trace the use of himself, &c. The early English did
not always use "self," except for emphasis ; their use was often :he
same as our modem poetic use :
** They sat them down upon the yellow sand." — Tennyson.
In order to define the him^ and to identify it with the previous //<?,
the word self (meaning ^^ the same,''^ "the aforesaid") was added :
** He bends himj^^." Thyself and myself are for thee-self me-self.
*' One self king" may be illustrated by " one same house." — Mon-
taigne, 228. We also find the adjectival use of "self" retained in
*' The territories of Attica sel/e.^'—lS!. P. 175.
"The city selfe of Athens."— N. P. 183.
"Itself" is generally, if not always, written in the Folio "it selfe."
There is a difficulty, however, in such a phrase as " I myself saw
it." Why do we not find " I -self," "he-self," in such cases?
Why, even in A.-S., do we find the rule that, when j<?^ agrees with
the subject of the sentence, the pronoun has to be repeated in the
dative before self: "he (him) self did it," but when the noun is in
an oblique case self is declined like any other adjective, and agrees
with its noun : " he hine seolfnehdsA,^'' i.e. "he bound himself?"
The fact is, that in the second case " self" is an ordinary adjective
used as an adjective: "he bound the same or aforesaid him."
But in the former case "himself" is often an abridgment of a pre-
positional expression used as an adverb: "he did it by himself,"
"of himself," "for himself," and, being a quasi-adverb, does not
receive the adjectival inflection.* It follows that "my," "thy,"
in "myself" and "thyself," are not pronominal adjectives, but
represent inflected cases of the pronouns. Thus "ourself" for "our-
selves " is strictly in accordance with the A, -S. usage in
"We will ourself m person to this war," — Rich. II. i. 4. 42.
though of course Shakespeare only uses it for "myself" in the mouth
of a dignified personage. Similarly in Piers Plo7uman (B. viii. 62)
we have *^mynonQ" { = ''ofmeoTYe,^^i.e. "^ of me z^otiq" [see O1I8])
used for "by myself," and "him one" (William of Paleme, 17) for
"by himself;" and here "myn" is the genitive of "I," and "him"
* Myself SQems used for our "by myself" in
"I had as lief have been jjzysecf aXonQ."— A . Y. L. iii. 2. 2C9.
30 SHAKESFEARIAN GRAMMAR.
the dative of "he," and "one" is an adjective. This is also illus-
trated by the Scottish "my lane," i.e. ''my, or by me, alone."
Hence, instead of "ourselves" we have in Wickliffe, 2 Cor. x. 2,
"but we mesuren us in us j/^ and comparisownen us silf to us,"
and, a line above, "//^w silf " for "themselves."
Very early, however, the notion became prevalent that the in-
flected pronoun was a pronominal adjective, and that "self" was a
noun. Hence we find in Chaucer, " ;«/jf^ /^^//^ been the whip,"
"and to prove their selfes" in Berners' Froissart; and in Shake-
speare, Temp. i. 2. 132, "thy crying self.^' Hence the modern
"ourselves," "yourselves."
The use of " self" as a noun is common in Shakespeare: "Tar-
quin'sself," Coriol.xv. 2. 98; "my woeful j^^" Z. C. 143. Hence
the reading of the Folio may be correct in the first of the follow-
ing lines :
" Even so myself bewails good Gloucester's case,
With sad unhelpful tears and with dimm'd eyes
Look after him."— 2 Hen. VI. iii. i. 217.
But the change to the first person is more in accordance with Shake-
speare's usage, as :
" This love of theirs myself have often seen."
T. G. of V. iii. I. 23.
S-^ T. G. iii. I. 147 ; ib. iv. 2. 110.
So "himself" is used as a pronoun, without "he," in
" Direct not him whose way himself vfiW. choose."
Rich. 11. ii. I. 29.
",S<?^born arms" [Rich. II. ii. 3. 80) seems to mean "divided
against themseives," "civil war."
21. Some, being frequently used with numeral adjectives quali-
fying nouns of time, as '^ soine sixteen months" (7! G. of V. iv. I.
21), is also found, by association, with a singular noun of time.
''Some hour before you took me." — T. N. ii. i. 22.
" I would detain you here some month or two." — M. of V. iii. 2. 9.
" Some day or two."— i?. ///. iii. i. 64.
It would seem that in such expressions "some" has acquired an
adverbial usage, as in the provincialisms, "It is j-^w<f late," "Five
mile ox some" (Maizner, ii. 253). Compare
" I think 'tis now some seven o'clock." — T. of Sh. iv. 3. ISD.
ADJECTIVES. 31
** Sum " is, however, found in Early English and Anglo-Saxon in
the sense of '* a certain." Compare A.-S. '^ Su7}i jungling hym
fyligde," Mark xiv. 51. So Wickliffe, where A. V. has " A certain
young man followed him." " OiXi&r-some'' {M.N.D. i. i. 226), see
p. 6.
22. The licence of converting one part of speech into another
may be illustrated by the following words used as adjectives :
"The fine point oi seldom (rare) pleasure."— ^l^ww. 52.
"Each under (inferior) eye." — So7in. 7.
♦•This beneath (lower) world."—?: of A. i. i. 44.
' ' The orb below
As hush (silent) as death." — Hamlet ^ ii. 2. 508.
See also stilly below (22).
♦* Mosty^// (palpable) and open this." — B. J. Sejan. i. 2.
*' Most laid (plotted) impudence." — B. J. Fox.
As still -with us, any noun could be prefixed to another with the
force of an adj ective : * * w/a/^r-drops, " " wa/^-thieves^ " * * water-^y, "
&c.
This licence, however, was sometimes used where we should
prefer the genitive or an adjective. Thus, "the region kites"
{Hamlet, ii. 2. 607,) for "the kites of the region ;" and ^^ \h^ region
cloud," Sonn. 33. So perhaps, *^ z. moment \Q\?>\x\-e" Hamlet, i. 3.
133. We say "heart's ease," but Shakespeare, Hen. V. ii. 2, 27,
says "//^ar/-grief;" '' heartAAood,'" Rich. II. i. I. 172, &c.; ''fac-
//■<?«- traitors," ib. ii. 2. 57. Again, a word like " music" is not
commonly used by us as a prefix unless the suffix is habitually
romucted with "music :" thus "music-book," "music-master," &c.,
but not "music " for "musical " as in
"The honey of his music vows." — Hamlet, iii. I. 164.
Compare ^^ venom mud," R. of L. ^61 ; '^^ venom clamours," C. of
E. V. i. 69, for "venomous ;" ^^ venom sound," Rich. II. ii. i. 19 ;
"venom tooth," Rich. III. i. 3. 291.
This licence is very frequent with proper names.
" Here in Philippi fields."— y. C. v. 5. 19.
"Draw them to Tiber hz.nV.^.'" —J. C.\. i. 63.
" There is no world without Verona walls." — R. and J. iil 3. 17,
"Within rich Pisa walls."— 7: of Sh. ii. i. 36J^.
"To the Cyp'us vfoxs.''' — O. i. i. 161.
" Turkey cushions." — T. of Sh. ii. i. 355, as we still sjxy.
32 SHAKESPEARIAN GRAMMAR,
" From Leonati seat." — Cymb, v. 4. 60.
" Venice gQ\^:'—T. of Sh. ii. i. 366.
Tlie reason for this licence is to be found in an increasing
dislike and disuse of the inflection in V. Thus we find, "sake"
frequently preceded in i Hen. IV. by an uninflected noun: "for
recreation sake," i Hen. IV. i. 2. 174; ib. ii. i. 80; ib. v. i. 65; "for
fashion sake," A. V. L. iii. 2. 271.
ADVERBS.
23. Tt is characteristic of the unsettled nature of the Elizabethan
bnguage that, while (see i) adjectives were freely used as adverbs
without the termination /}>, on the other hand fy was occasionally
added to words from which we have rejected it. Thus : "fastly "
{£. C. 9) ; "youngly" {Coriol. ii. 3. 244).
24. Adverbs with prefix a-: (i) Before nouns. In these adverbs
the a- represents some preposition, as "in," "on," "of," &c. con-
tracted by rapidity of pronunciation. As might be expected, the
contraction is mostly found in the prepositional phrases that are in
most common use, and therefore most likely to be rapidly pro-
nounced. Thus {Coriol. iii. I. 261-2) Menenius says: "I would
they were in Tiber, ^^ while the Patrician, " I would they were a-bedj'^
Here a- means "in," as in the following :
"313? Fisherman. Master, I marvel how the fishes live in the sea.
\st Fisherman. Why, as men do a-land.''^ — P. of T. ii. T. 81.
A- is also used where we should now use "at." Compare, how-
ever, O. E. "^«work."
" Sets him new a-work.^' — Hamlet, ii. 2.510; Lear in. 5, 8.
So R. of L. 1496. And compare Hamlet, ii. i. 58, "There (be)
was a' gaming," with
" When he is drunk, asleep, or in his rage
^/gaming." — Hamlet, iii. 3. 91.
Sometimes "of" and "a-" are interchanged. Compare "a; -kin"
and "of kind," "of >urst" and "a-thirst," "of buve " and "a-
l)Ove. " Most frequently, however. " a-" represents our modem " or "
or "in,'\ Compare "a-live and "on live."
ADVERBS. 33
**,Bite the holy cords a-twain.^' — Lear, ii. 2. 80 ; L. C. 6.
Compare "That his spere brast a-five" i.e. "burst in five pieces."
(IIalliwell.) So
*'A-front.''—iffen. IV. ii.4. 222. *'A-_fire."—TemJ>. i. 2. 212.
** Look up a-height" (perhaps). — Lear, iv. 6. 58.
** Beaten the maids a-row.'^ — C. of E. v. i. 170.
*' And keep in a-door." — Lear, i. 4. 138.
Thus, probably, we must explain
" Thy angel becomes a fear." — A. and C. ii. 3. 22.
i.e. *' a-fear." The word ** a-fere" is found in A.-S. in the sense
of "fearful" (Matzner, i. 394). And in the expressions "What a
plague?" 1,1 Hen. IV. i. 2. 51,) " What a devil?" (1 Hen. IV.
i. 2. 6,) "^ God's name" [Rich. II. ii. i. 251,) and the like, we
must suppose a to mean "in," "on," or "of." There is some
difficulty in
"I love a ballad in print a life" (so Folio, Globe, "o' life").
IV. T. iv. 4. 264.
It might be considered as a kind of oath, "on my life." Nares
explains it "as my life," but the passages which he quotes could be
equally well explained on the supposition that a is a preposition.
The expression "all amort" in i Hen. VI. iii. 2. 124, and T. of Sk.
iv. 3. 36, is said to be an Enghsh corruption of "a la mort."
* ' To heal the sick, to cheer the alamort. " — Nares.
The a (E. E. an or on) in these adverbial words sometimes for
euphony retains the n :
" And each particular hair to stand an end." — Ham. i. 4. 19.*
So Hamlet, iii. 4. 122, Rich. III. i. 3. 304; and compare "at«
hungry," " a« hungered" below, where the an is shown not to be
the article. So
" A slave that still an end Xyxva.'s, me to shame," — T. G. of V. iv. 4. ^1.
where "«« end " (like " run on head" (Homilies), i.e. " run <z-head")
signifies motion "on to the end."
These adverbial forms were extremely common in earlier English,
even where the nouns were of French origin. Thus we find : "a
grief," "a-fyn" for "en-fin," "iz-bone" excellently, "d:-cas" by
chance. Indeed the corruption of en- into a- in Old French itself
* Compare " Shall stand a tip-toe." — Hen. V. iv. 3. 42.
34 SHAKESPEARIAN GRAMMAR.
is very common, and we still retain from this source *'a-round " for
**en rond " and "a-front" for "eu front."
(2) Before adjectives and participles, used as nouns.
When an adjective may easily be used as a noun, it is intelligible
that it may be preceded by a-. Compare "a-height," quoted above,
with our modern **on high," and with
* * One heaved a-high to be hurled down below."
Rich. III. iv. 4. 86.
It is easy also to understand a- before verbal nouns and before adjec-
tives used as nouns, where it represents on :
"1 would have him nine years a-killing." — 0. iv. I. 188.
i.e. "on, or in the act of killing." So
" Whither were you a-going V^ — Hen. VIII. i. 3. 50.
i.e. *' in the act of going,"
'* The slave that was a-hanging there." — Lear^ v. 3. 274.
*' Tom's a-cold.'' — lear, iii. 4. 59.
i.e. "«-kale," E. E. "in a chill."
Some remarkable instances of this form are subjoined, in wiiich
nouns are probably concealed.
" I made her weep a-good." — T. G. of V. iv. 4, 170.
i.e. "in good earnest;" but "good" may be a noun. Compare
"a-bone" above.
" The secret mischiefs that I set abroach.'' — R. III. i. 3. 325 ;
R. and J. i. i. 111.
where a is prefixed to "broach," now used only as a verb. " On
broach " and " abroach " are found in E. E. Compare
" O'er which his melancholy sits on brood."
Hamlet, iii. i. 173.
Compare "That sets them all agape." — Milton, P. L. v.;
which is to be explained by the existence of an old noun, "gape."
(3) As the prefix of participles and adjectives.
In this case a- represents a corruption of the A. -S. intensive of.
Thus from E. E. "<7/"feren," we have "afered" or "af eared;"
from A.-S. "<?/'-gan," "<2-gone." The <?/" before a vowel or h is
sometimes changed into on or an. See On, 182. And indeed the
prefixes an-, on-, of, a-, were all nearly convertible. Hence "of-
hungred" appears not only as " ^fingred, " but also " a;«-hungered, "
as in St. Matthew xxv. 44, A, V. : " When saw we thee an hungered
ADVERBS, 35
or athirst?" It would be a natural mistake to treat an here as the
article : but compare
** They were an hungry," — Coriol, i. i. 209.
where the plural "they" renders it impossible to suppose that an is
the article.
Perhaps, by analogy, a- is also sometimes placed before adjectives
that are formed from verbs. It can scarcely be said that weary is
a noun in
"For Cassius is a-weary of the world."
J. C. iv. 3. 95; I Hen. IV. iii. 2. 88.
Rather **a-weary," like "^walked," means "^wery," i.e.
*' tired out."
25. Adverbs ending in " s " formed from the possessive
inflection of Nouns. Some adverbs thus formed are still in
common use, such as "needs" = "of necessity."
^^ Needs must I like it well." — Rich. II. iii. 2. 4.
"There must be needs a like proportion." — M. of V. iii. 4. 14.
But we find also in Shakespeare :
" He would have tickled you other gates than he did."
T. N. V. I. 198.
i.e. **in another gate or fashion."
In this way (compare "sideways," "lengthways," &c.) we must
probably explain
" Come a little nearer this ■ways.^'' — M. W. of. W. ii. 2. 50.
And "Come thy ways.'^—T. N. ii. 5. 1.
Compare also the expression in our Prayer-book :
"Any ways afflicted, or distressed."
Others explain this as a corruption of " wise."
" Days" is similarly used :
"'Tis but early days."—Tr. and Cr. iv. 5. 12.
i.e. "in the day," as the Germans use "morgens." Compare
" now-a-days" and N. F. 179, " at noondaies."
A similar explanation might suggest itself for
" Is Warwick/rzma'j- with Margaret?"
3 Hen. VI iv. I. 115 ; A. and C. il 5. 44.
But "I zxi\ fi'iends''^ is not found in E. E., and therefore pro-
bably it is simply a confusion of two constructions, "I am friend to
him" and " we are friends."
D 2
36 SHAKESPEARIAN GRAMMAR,
26. After was used ad — rbially of time
" If you know
That I do fawn on men, and hug them hard.
And after scandal them." — 'J. C. i. 2. 76.
Now we use aftenvards in this sense, using after rarely as an adverb
and only with verbs of motion, to signify an interval of space, as '* he
followed after y
27. The use of the following adverbs should be noted :
Again (radical meaning " opposite ") is now only used in the
local sense of returning, as in *' He came back again, home again,''*
&c. ; and metaphorically only in the sense of repeating, as in "Again
we find many other instances," &c. It is used by Shakespeare
metap/icrically in the sense of "on the other hand." Thus —
" Have you
Ere now denied the asker, and now agai7i (on the other hand)
Of him that did not ask but mock, bestow
Your sued-for tongues?" — Coriol. ii. 3. 214.
"Where (whereas) Nicias did turne the Athenians from their
purpose, Alcibiades againe (on the other hand) had a further reach,"
&c. -N. P. 172. So Rich. II. ii. 9. 27.
It is also used literally iox "back again." "Haste you again,''''
A. W. ii. 2. 73, does not mean "haste a second time," but "hasten
back."
Again is used for ** agaitt and again," i.e. repeatedly (a previous
action being naturally implied by again), and hence intensively
almost like " amain."
" For wafting here until I sweat (ed) again.''"' — M. of V. iii. 2. 205.
* Weeping again the king my father's wreck. "
Tejnpest, i. 2. 390.
For omission of -ed'm. "sweat" (common in E. E.), see 341.
28. All (altogether) used adverbially :
"I will dispossess her all.'"—T. of A. 1. i. 139,
" For us to levy power is all unpossible." — Rick. II. ii. 2. 126.
In compounds all is freely thus used, "^//-worthy lord ;" ^^ all-
watched night;" "her ^//-disgraced friend," A. and C. iii. 12. 22.
Sometimes it seems to mean "by all persons," as in " ^//-shunned . "
So, "this fl://-hating world," Rick. II. v, 5. QQ, does not mean
"bating all," but "hating (me) universally."
ADVERBS. 37
AH used intensively was frequently p:.«fixed to other adverbs of
degree, as "so."
"What occasion of import
Hath att so long detain'd you from your wife ?"
T. ofSh. iii. I. 105.
The connection of all and "so" is perpetuated in the modem
"also." Still more commonly is all prefixed to " too."
" In thy heart-blood, though being all too base
To stain the temper of my knightly sword. "
Rich. II. iv. I. 28.
"Our argument
Is all too heavy to admit much talk." — 2 Hen. IV. v. 2. 24.
So Cymb. v. 5. 169 \ T. G. of V. iii. i. 162 ; Sonn. 18, 61, 86 ;
R. of L. 44, 1686.
There are two passages in Shakespeare where all-to requires
explanation :
"It was not she that called him all to nought." — V. and A. 993.
" Theveryprincipals (principal posts of the house) did seem to rend
And fl// stopple."—/*, of T. iii. 2. 17.
(1) In the first passage all-to is probably an intensive form of
"/^," which in Early Enghsh (see ToO, below) had of itself an
intensive meaning. Originally "to "belonged to the verb. Thus
" to-breke" meant "break in pieces." When "all" was added, as
in "all to-breke," it at first had no connection with "to," but
intensified "to-breke." But "to" and "too" are written in-
differently for one another by Elizabethan and earlier writers, and
hence sprang a corrupt use of "all-to," caused probably by the
frequent connection of all and too illustrated above. It means here
"altogether."
(2) In the second passage some {a) connect "to-topple," believing
that here and m. M. W. of W. iv. 4, 57, "to-pinch," "to" is an
intensive prefix, as in Early English. But neither of the two passages
necessitates the supposition that Shakespeare used this archaism.
(See J/, w.ofw. iv. 4. 5 below, To Omitted and inserted, 350.)
We can, therefore, either {b) write "all-to" (as in the Globe), and
treat it as meaning "altogether," or {c) suppose that "all" means
"quite," and that "to topple," like "to rend," depends upon
" seem." This last is the more obvious and probable construction.*
* Or, adopting this construction, we may take all to mean " the whole house.'
" The Drincioals did seeui to rend, and the whole house to topple."
38 SHAKESPEARIAN GRAMMAR.
From this use of "all too" or "all to," closely connected in
the sense of ** altogether," it was corruptly employed as an intensive
prefix, more especially before verbs beginning with be-: ^^ all-to'
Zi^qualify," B. J.; ^^ aU-to-beYvsX.,^^ ib.; and later. **he ail-to be-
Gullivers me," Swift ; **a//-/<?-^<?-traytor'd," Nares.
29. Almost, used for mostly, generally:
"Neither is it almost seen that very beautiful persons are of
great virtue." — B. E. 163.
Our modem meaning nearly is traceable to the fact that anything
is marly done when the most of it is done.
Almost (see also Transpositions) frequently follows the word
which it qualifies.
" T swoon almost with fear." — M. N. D. ii. 3. 154.
*' As like almost to Claudio as himself" — M.for M. v. i. 494.
Hence in negative sentences we find "not-almost " where we
should use "almost not," or, in one word, " scarcely," "hardly."
"You can«^/ reason {almost) with a man." — Rich. III. ii. 2. 39.
The Globe omits the parenthesis of the Folio.
" And yet his trespass, in our common reason,
Is not almost a fault ... to incur a private check." — 0. iii. 3. 66.
i.e. " is not (/ may almost say) fault enough to," &c. or "is scarcely
fault enough to," &c. So
" I have Jiot breath'd almost since I did see it." — C. of E. v. i. 181.
It was natural for the Elizabethans to dislike putting the qualify-
ing "almost" before the word qualified by it. But there was an
ambiguity in their idiom. " Not almost-a- fault" would mean " not
approaching to a fault ;" "not-almost a fault," " very nearly not a
fault." We have, therefore, done well in avoiding the ambiguity
•by disusing "almost" in negative sentences. The same ambiguity
and peculiarity attaches to interrogative, comparative, and othei
conjunctional sentences.
" Would you imagine or almost believe ?" — Rich. III. iii, 5. 35.
i.e. " Would you suppose without evidence, or (I may almost say)
believe upon evidence?" &c.
" Our aim, which was
To take in many towns ere almost Rome
Should know we were afoot." — Coriol. i. 2. 24,
ADVERBS. 39
Alone, see One, 18.
30. Along is frequently joined to ** with " and transposed, as :
*' With him is Gratiano gone along.^' — Af. of V. ii. 8, 2.
Hence the "with me" being omitted, "along" is often used for
** along with me." ^
" Demetrius and Egeus, go along,
I must employ you in some business." — M. N. D. i. i. 123.
Note, that here, as in T. of Sh. iv. 5. 9 ; 2 Hen. IV. ii. i. 191 ;
0. i. I. 180; "go" is used where we should say "come." The
word is used simply to express the motion of walking by Wickliffe :
Acts xiv. 8. Montaigne, Florio, 22p.
Sometimes the verb of motion is omitted, as in
" Will you along (with us)?"— C^n^/. ii. 3. 157.
" Let's along" is still a common Americanism.
Sometimes the ellipsis refers to the third person.
" Go you along (with him)." — A. and C. v. i. 69.
Perhaps we ought (to the advantage of the rhythm) to place a
comma after along, in
" Therefore have I entreated him along.
With us to watch the minutes of this night." — Hani. i. i. 26.
30a. Anon. The derivative meaning of anon (an-ane) is "at
one instant," or " in an instant," and this is its ordinary use. But in
"Still and anon.''—K. J. iv. i. 47.
" Which ever and anon he gave his nose."
I Hen. IV. i. 3. 38.
anon seems to mean "the moment after," a previous moment being
implied by "still," "ever." Compare our " now and then."
31. Anything, like Any ways, is adverbially used :
" Do you think they can take any pleasure in it, or be anything
delighted?" — Montaigne, 31.
" Any ways afflicted, or distressed." — Prayer-book.
"Ways" is, perhaps, genitive. See 25.
32. Away.
"She could never away with me." — 2 Hen. IV. iii. 2. 213.
Lc " ghe could not endure me." A verb of motion is probably
40 SHAKESPEARIAN GRAMMAR.
omitted. Compare our ** I cannot get on with him," *' put up with
him," and the provincial " I cannot do with him."
**I could not do withal.^^ — M. of V. iii. 2. 72.
So ** she could never away with me" --= " she could not go on her
way," i.e. "get on with me." For the omission of the verb
of motion compare
** Will you along V'—Coriol. ii. 3. 157.
33. Back, for "backward."
** Goes to and back lackeying the varying tide."
A. and C. i. 4. 46.
Where we should say "to sjixdfro."
' 34. Besides = "by the side of the main question," i.e. "in
other respects," " for the rest."
" This Timseus was a man not so well knowne as he, but besides
(for the rest) a wise man and very hardy," — N. P. 174.
Similarly besides is used as a preposition in the sense " out of."
" How fell you besides your five wits?" — T. N. iv. 2. 92.
35. Briefly = "a short time ago,'' instead of (as v.dth us) "in a
short space of time. "
" Briefly we heard their drums.
How couldst thou . . . bring thy news so late?"
Coriol. i. 6. 16.
Similarly we use the Saxon equivalent "shortly" to signify futurity.
36. By (original meaning " near the side." Hence "by and by'*
= "very near," which can be used either of time or, as in Early
English, also oi place) is used for " aside," "on one side," *' away,"
in the phrase
" Stand by, or I shall gall you."— A^ J. iv. 3. 94.
Whereas, on the other hand, "to stand by a person" means "to
stand near any one."
37. Chance appears to be used as an adverb :
" How chance thou art returned so soon ? " — C. of E. i. 2. 42.
But tlie order of the words "thou art," indicates that Shake^
speare treated chance as a verb. "How may it chance or chamei
ADVERBS. 41
that," as Hamlet^ ii. 2. 343, *' How chances it they travel?" Com-
pare —
" How chance the roses there do fade so fast ? "
M. N. D. i. I. 129.
So Tr. and Cr. iii. i. 151 ; 2 Hen. IV. iv. 4. 20 ; Rich. III. iv. 2.
103 ; M. IV. of VV. v. 5. 231 ; P. of T. iv. i. 23.
Compare, however, also —
** \i case some one of you would fly from us." — 3 Hen. VI. v. 4. 34.
where " case" is for the Old French "per-case."
This use of chance as an apparent adverb is illustrated by
** Perchance his boast of Lucrece' sovereignty
Suggested this proud issue of a king :
Perchance that envy of so rich a thing
Braving compare, disdainfully did sting." — R. of L. 39.
Here " perchance " seems used first as an adverb, then as a verb,
" it may chance that." So Shakespeare, perhaps, used cha7tce as
an adverb, but unconsciously retained the order of words which
shows that, strictly speaking, it is to be considered as a verb.
38. Even. *' Even now" with us is applied to an action that
has been going on for some long time and still continues, the
emphasis being laid on "now." In Shakespeare the emphasis is
often to be laid on "even," and ^* even now" means ^^ exactly ox
only now," i.e. "scarcely longer ago than the present:" hence
" but now."
"There was an old fat woman even now with me."
M. W.ofW. iv. 5. 26.
Often "but even now" is used in this sense: M. of V. \. i. 35.
On the other hand, both ^^ even now" and " but now" can signify
"just at this moment," as in
" But now I was the lord
Of this fair mansion ; . . . and ez'en now, but now.
This house, these servants, and this same myself
Are yours." — M. of V. iii. 2. 171.
. We use ^^ just now" for the Shakespearian ^' even now," laying
the emphasis on "just." Even is used for " even now," in the sense
of "at this moment," in
" A certain convocation of politic worms are even at him."
Hamlet, iv. 3. 22.
42 SHAKESPEARIAN GRAMMAR,
So **even when" means "just when" in
•* (Roses) die, even when they to perfection grow."
T. N. iL 4. 42.
39. Ever (at every time) freq. :
" For slander's mark was ever yet the fair. " — Sonn. 70.
The latter use is still retained in poetry. But in prose we confine
*'ever" (like the Latin " unquam") to negative, comparative, and
interrogative sentences.
Ever seems contrary to modem usage in
"Would I might
But (fz/ifr see that man." — Temp. i. 2. 168.
"But," however, implies a kind of negative, and "ever" means
"at any time."
40. Far, used metaphorically for "very."
" Bnt far unfit to be a sovereign." — 3 I/en. VI. iii. 2. 92.
So 2 Hen. VI. iii. 2. 286.
41. Forth, hence, and hither are used without verbs of motion
(motion being implied) :
" I have no mind of feastingy^r/// to-night. " — M. of V. ii. 2. 37.
" Her husband will be forthr—M. W. of W. ii. 2. 278.
* ' By praising him here who doth hence remain. " — Sonn. 39.
^'-YxGxa. the7tce\he. sauce to meat is ceremony." — Macb. iii. 4. 36.
" Methinks I hear hither your husband's drum," — Coriol. i. 3. 32.
" Prepare thee hence for France." — Rich. II. v. i. 31.
Forth^ " to the end : "
" To hear this matter >r//?."— J/, for M. v. i. 255.
Forth, as a preposition : see Propositions.
42. Happily, which now means "by^(?^^hap," was sometimes
used for " haply," i.e. "by hap," just as " success " was sometimes
" good," at other times " ill."
^^ Hamlet. That great baby you see there is not yet out of his
swaddling- clouts.
.Ros. Happily he's the second time come to them." — Hamlet., ii.
2. 402.
" And these our ships, you happily may think,
Are like the Trojan horse (which) was stuffed withia
With bloody veins."— i^. of T.\. ^ 29.
ADVERBS. 43
" Though I raay /ear
Her will recoiling to her better judgment
May fall to match you with her country fornts,
And happily re^&n.\."— Othello, iii. 3. 238.
It means "gladly" in Macbeth, i. 3. 89.
43. Here is used very freely in compounds: "they here ap-
proach" (Macb. iv. 3. 133); *'/5^r^-remain" {ib. 148). Perhaps
here may be considered as much an adjective, when thus used, as
"then" in "our then dictator" {Coriol. ii. 2. 93). So in Greek.
44. Hitherto, which is now used of time, is used by Shake-
speare of space :
" England from Trent and Severn hitherto.'*
I Ileji. IV. iii. I. 74.
45. Home. We still say "to come home,'* "to strike home,'"
using the word adverbially with verbs of motion, but not
" I cannot speak him home,'' i.e. completely.
Coriol. ii. 2. 107.
"Satisfy me >^^w^."— 63/^/5. iii. 5. 83.
" (Your son) lack'd the sense to know her estimation home."
A. W. v. 3. 4.
" That trusted home
Might yet enkindle you unto the crown." — Macbeth, i. 3. 121.
46. How (adverbial derivative from hwa = Mvu, O. E.) used for
*' however:"
" I never yet saw man
How wise, how noble, young, how rarely featured.
But she would spell him backward." — M. Ado, iii. i. 60.
" Or whether his fall enraged him or how 'twas."
Coriol. i. 3. t)9.
How is perhaps used for " as " in V. and A. 815 :
" Look, how a bright star shooteth from the sky.
So glides he in the night from Venus' eye."
This, which is the punctuation of the Globe, is perhaps coriect,
and illustrated by
" Look, as the fair and fiery-pointed sun
Rushing from forth a cloud bereaves our sight.
Even j-^," &c. — R. of L. y]2.
So V. and A. 6^, M. of V. iii. 2. 127.
Similarly, Gascoigne (Matzner) has :
" Ifow many men, so many minds."
H SHAKESPEARIAN GRAMMAR,
47. HoWSOe'er for " howsoe'er it be," "in any case."
** Howsoe'er, my brother hath done well." — Cvnib. iv. 2. 146.
So However. See 403.
48. Last. Such phrases as "at the last," "at the first," are
common, but not
'* The last (time) that e'er I took her leave at court,"
A. IV. V. 3. 79.
Merely, completely. See Adjectives, Mere, 15-
More, Most. See Adjectives, 18.
49. MoreabOVe = "moreover." — Hamlet, ii. 2. 126.
50. Moreover precedes "that," like our "beside that."
" Moreover that we much did long to see you."
Hamlet, i. 2. 2.
51. Much, More, is frequently used as an ordinary adjective,
after a pronominal adjective, like the Scotch mickle, and the E. E.
muchel* (So in A. -S.)
" Thy w«/<r/^ goodness." — M. for M. v. i. 534.
'Yet so much (great) is my poverty of spirit."
Rich. III. iii. 7. 159.
Much was frequently used as an adverb even ■\n\\\\ positive adjectives.
"I am much ill." — 2 Hen. IV. iv. 4. 111.
So Tr. and Cr. ii. 3. 115 ; J. C. iv. 3. 255.
, " Our too much memorable shame." — Hen. V. ii. 4. 53.
So Rich. II. ii. 2. 1.
More is frequently used as a noun and adverb in juxtaposition.
" The slave's report is seconded and more
il/or^ fearful is deliver'd."—C^r?^/. iv. 6. 63. Comp. K. y. iv. 2. 42.
" More than that tongue that morehzth more express' d.^^ — Sonn. 23.
"If there be more, more woeful, hold it in." — Lear, v. 3. 202.
We sometimes say ^^ the many" (see 12), but not " the most," in
the sense of "most men." Hey wood, however, writes —
" Yes, since the most censures, believes and saith
By an implicit faith." — Cofnmendatory Verses on B. J.
* Compare "A noble peer oi mickle trust and power." — Milton, Connis.
'^^m
ADVERBS. 45
Keeds. See 25.
52. Never is used where we now more commoniy use "ever"
in phrases as :
" And creep time ne'er so slow,
Yet it shall come for me to do thee good." — K. J. iii. 3. 3i'
So I Hen. VI. v. 3. 98 ; Rich. II. v. i. 64.
There is probably here a confusion of two constructions, (i)
"And though time creep so slow as it never crept before," and (2)
"And though time never crept so slow as in the case I am sup-
posing." These two are combined into, "And though time creep —
(how shall I describe it ? though it crept) never so slow." Con-
struction (2) is illustrated by
" Never so weaiy, never so in woe,
I can no further crawl, no further go." — M. N. D. iii. 2. 442.
Here, strictly speaking, the ellipsis is "/ have been^^^ or "having
been;" ^^\ have never h^tn so weary." But it is easy to see that
" never so weary" being habitually used in this sense, -Hermia might
gay, "law never-so-weary," or still moi^e easily, "though I were
nez'er-so-wcary."
In such phrases as *' never the nearer," never seems to mean
"nought." So Wickliffe, John xix. 21 :
" But how he now seeth we wite nere,'^ i.e. " we know not.^*
53. None seems to be the emphatic form of "no," like "mine"
of " my" in the modern idiom :
" Satisfaction (there) can be none but by pangs of death."
T. N. iii. 4. 261.
For we could not say " there can be no7te satisfaction." This
emphatic use of the pronoun at the end of a sentence is found very
early. None seems loosely used for "not at all," like "nothing"
(55)> "nc-whit," i.e. "not." And this may, perhaps, explain :
^^ Nojte a stranger there
So merry and so gamesome." — Cynib. i. 6. 59.
Here either 7tone means "not," "ne'er," or a comma must be
placed after none: ^^ none, being a stranger," which is a very harsh
construction.
The adverbial use of " none " may be traced to Early English and
Anglo-Saxon. Under the form "nan," i.e. " ne-an " (compare
46 SHAKESPEARIAN GRAMMAR.
German "nein"), we find "nan more," and also **«^«^ longer,**
''whether he wolde or noon'''' (Chaucer, Matzner). "Nan" was
used as an adverbial accusative for "by no means" even in A.-S.
(Matzner, iii. 131.) In Rich. II. v. 2. 99, "He shall be none," the
meaning is, "he shall not be one of their number. " "None" is
still used by us for "nothing,*' followed by a partitive genitive,
' * I had nojte of it ; " and this explains the Elizabethan phrase
" She will none of me."— 71 N. i. 3. 113.
i.e. " She desires to base -^321) nothing from, as regards to do with,
lie." So
" You can say none of this." — T. N. V. I. 342.
54. Not is apparently put for " not only" in the two followbg
" Speak fair ; you may salve so
Not what is dangerous present, but the loss
Of what is past." — Coriol. iii. 2. 71.
" For what he has
Given hostile strokes, and that not in the presence
Of dreaded justice, but on the ministers
That do distribute it." — Coriol. iii. 3. 97.
55. Nothing, like "no-Avay," "naught," "not," (A.-S. naht,
i.S, "no whit,") is often used adverbially.
" And that would set my teeth nothing on edge."
I Hen. IV. iii. i. 133.
" I fear nothings what can be said against me,"
Hen. VIII. v. l. 126.
where "what" is not put for "which."
66. Off (away from the point) :
"That's off: that's off. I would you had rather been silent."
Coriol. ii. 2. 64.
"I boast her off.''—TemJ>. iv. i. 9.
To be off=-Xo take offone^s hat :
"I will practise the insinuating nod and be 0^ to them most
counterfeitly." — Coriol. ii. 3. 107.*
67. Once ("once for all," "above all") :
"Once, if he require our voices, we ought not to deny him."
Coriol. ii. 3. \.
• " Stands off" is used for " stands out^ i.e. in relief."— //<v?, V. ii. z. 103.
ADVERBS. 47
" 'Tis once thou lovest,
And I will fit thee with the remedy."— i^. Ado, i. i. 320.
Hence "positively."
"Nay, an you be a cursing hypocrite, once you must be looked
to." — M. Ado, V. i. 212.
"Nay, an you begin to rail on society, 07ice I am sworn not to
give regard to you." — Timon, i. 2. 251.
The Folio and Globe place the comma after once
Once is sometimes omitted :
"This is [once) for all." — Hamlet, i. 3. 131.
Once sometimes "in a word:"
" Once this — your long experience of her wisdom,
Her sober virtue, years, and modesty,
Plead on her part some cause to you unknown."
C. ofE. iii. I. 90. ,
At once is found in this or a similar sense :
"My lords, at once ; the cause why we are met
Is to determine of the coronation." — Rich. III. iii. 4. 1.
" My lords, at once ; the care you have of us
Is worthy praise." — 2 Hen. VI. iii. I. ^^.
Once seems to mean " at some time (future)" in
" I thank thee, and I pray thee, once to-night
Give my sweet Nan this ring." — M. W. of W. iii. 4. 103.
But the word may be taken as above.
58. Only, i-e. on{e)ly, is used as an adjective. See But (130).
and Transpositions (420).
" The only (mere) breath."— Spens. F. Q. i. 7. 13.
" It was for her love and ojily pleasure." — Ingelend.
" By her only aspect she turned men into stones." — Bacon,
Adv. of L. 274.
We have lost this adjectival use of only, except in the sense oi
** single," in such phrases as " an only child."
Only, like "alone" (18), is used nearly in the sense of "abova
all," "surpassing."
* Ol>h. You are merry, my lord.
Ham. Who ? I ?
Oph. Ay, my lord.
Ilam. O God, your ^;z/j/ jig-maker." — Hamlet, iii, 2. 181.
" Your worm is your only emperor for diet." — lb. iv 3. 22.
48 SHAKESPEARIAN GRAMMAF.
58 8i. Over means ** over again" in
"Trebles thee o'er."— Tempest, ii. i. 221.
i.e. "repeats thy former self thrice." Compare
"I would be trebled twenty times myself." — M. of V. iii, 2. 15-i.
59. Presently = "at the present time," "at once," instead of,
as now, " soon, but not at once."
" Dcsd. Yes, but not yet to die.
Othello. O •Y^.'S., presently.'* — Othello, v. 2. 52.
So Rich. 11. iii. i. 3 ; 2. 179.
60. Round, used adverbially in the sense of "straightforwardly."
"Round," like "square" with us, from its connection with "regular,"
"symmetrical," and "complete," was used to signify "plain and
honest." Hence
"I went 7'otmd io work." — Hamlet, ii. 2. 139.
means just the opposite of " circuitously. "
61. Severally ("sever," Lat. separo), used for "separately."
So
" When severally we hear them rendered." — y. C. iii. 2. 10.
And " Contemplation doth withdraw our soule from us, and
■severally employ it from the body." — Montaigne, 30.
Thus, '' Q. several plot" {Sonn. 137) is a "separate" or "private
plot" opposed to "a common."
62. Since (A.-S. sith = "time," also adv.* "late," "later ;'*
** sith-tha7i" = "after that") adverbially for "ago."
"I told your lordship a year since." — M. Ado, ii. 2. 13.
This must be explained by an ellipsis :
" I told your lordship (it is) a year since (I told you)."
Compare a transitional use of "since" between an adverb and
conjunction in " Waverley ; or, 'tis Sixty Years jz';;^^. " Omit "'tis,"
and since becomes an adverb.
So since is used for " since then," like our " ever since" in
* And since., methinks. I would not (do not wish to) grow so
iz-,l."—Rich. III. ii. 4. U.
Since, when used adverbially as well as conjunctionally, fre«
* Sith for sither, like " mo" for " iiio-er." (See 17.)
ADVERBS. 49
quently takes the verb in the simple past where we use the
complete present :
" I did not see him since." — A. and C. i. 3. 1.
This is in accordance with an original meaning of the word, "later,"
("sith.") We shonld still say, "I never saw him after that;"
and since has the meaning of " after."
We also find the present after "since," to denote an action that
is and has been going on since a certain time. (So in Latin with
" jampridem.")
" My desires e'er sittce pursue me." — T. N.'\. i. 23.
See Conjunctions, 132.
63. So (original meaning "in that way") is frequently inserted
in replies where we should omit it :
" Trib. Repair to the Capitol,
Peop. Wewill j^."— C<?W^/. ii. 3. 62.
" T. Fortitude doth consist, &c.
D. It doth so indeed, sir."— B. J. Sil. Worn. iv. 2.
Here so means "oj- you direct, assert." "As" is, by derivation,
only an emphatic form of so. See 106.
64. So is sometimes omitted after "I think," "if," &c.
"C. What, in metre?
Luc. In any proportion or^nguage.
G. I think, or in any reli|l^n." -M. for M. i. 2. 24.
" Will the time serve to tell ? I do not think (so)."
CorioL i. 6. 46.
** Haply you shall not see me more ; or if
A mangled shadow." — A. and C. iv. 2. 27.
" Not like a corse ; or if not to be buried." — W. T. iv. 4, 131.
"Do not plunge thyself too far in anger, lest thou hasten th>
trial, which if Lord have mercy on thee for a hen." — A. W, iL
3. 223.
Compare
" What though ; yet I live like a poor gentleman bom."
M. W. of IV. i. I. 287 ; I/en. K ii. i. 9 ; A. V. L. iii. 3. 61.
"O, if \\. prove,
Tempests are kind and salt waves fresh in love. "
T, N. iii. 4. 418.
X
50 SHAKESPEARIAN GRAMMAR.
65. So is put for the more emphatic form, ?X'SO.
" Demetrius, thou dost over-ween in all,
And so in this, to bear me down with braves. "
T. A. ii. I. 30.
" It is a cold and heat that does outgo
All sense of winters and of summers so. " — B. J. SadSk. ii, I.
"Mad in pursuit, and in possession so." — Sonn. 129.
"Good morrow, Antony.
Ant. So to most noble Cresar." — y. C. ii. 2. 117.
So approaches "also" in
"Cousin, farewell ; and, uncle, bid him so."
Rich. II. i. 3. 247.
So that ; so as. (See PronouDS, Relative, 275, 276.)
66. So (like the Greek outw Stj) is often used where we should
use " then." " In this way" naturally leads to " thus," " on this,"
"thereupon," "then."
"And when this hail some heat from Hermia felt
So he dissolved."—^. A". D. i. i. 245.
So is, therefore, sometimes more emphatic than with us, as in
(arrange thus, not as Globe) —
' ' Olivia. To one of your receiving enough is shown ;
A cypress, not a bosom, hides (Fol.) my heart {pauses)
So {i.e. after this confession) let me hear you speak,
Vio. I pity you."
r. N. iii. I. 133.
So in conditional clauses. See Conjunctions, I33-
67. So was often, and correctly, used (where we use the adverbial
" such" or " so" with " a") before an adjective, e.g. "so great faith"
where we say "such great faith," "so long time" where we say "so
long a time," We seem to feel that " so" (being an adverb, and there-
fore more liable to transposition than the adjective "such") requires
to be attached to the word which it qualifies, either (i) by introducing
the article which necessarily links together the words thus : "so-
great a-loss ;" or else (2) by placing "so" in a position where its
effect is equally unmistakeable : "a-loss so-great."
When the noun is in the plural we cannot use the former method ;
we are, therefore, driven to the latter, and instead of saying
"6'^hard termes."— N. F. 176.
we say "terms so hard."
ADVERBS. 51
" In so protouad abysm I throw all care." — Sonn. 112.
" My particular grief
Is of so flood-gate and o'erbearing nature." — 0. i. 3. 55.
" And I will call him Xoso strict account." — I Hen. IV. iii. 2. 149.
** With so full soul." — Temp. iii. i. 44.
" Of so quick condition." — M. for M. i. i. 54.
But note that in these instances the "so" follows a preposition.
A.fter prepositions the article ^see Article, 90) is frequently omitted.
Shakespeare could have written
" My grief is of nature so floodgate," &c.
•' I will call him to account so strict that," &c.
Our modern usage was already introduced side by side with the
Dther as early as Wicklifle. Compare
" So long time." — St. John xiv. 9.
with " So long a time." — Hebrrajs iv. 7.
68. Something used adverbially, like "somewhat."
'* A white head aJid sotiuthing a round belly."
2 Hen. IV. i. 2. 212.
We should say " a somewhat round," placing the adverb between
the article and the adjective so as to show unmistakeably that the
adverb qualifies the adjective. "Something" may possibly be so
taken (though "somehow" would make better sense) in
" This j-^/;/^//^///^-settled matter in his breast. " — Ham. iii. i. 181
68 a. Sometimes, lil^e " sometime," is used by Shakespeare for
" formerly" in
" Thy j-^w£'//«/£'j' brother's wife." — Rich. II. i. 2. 54.
So probably
''''Sometimes from her eyes
I did receive fair speechless messages." — M. of V.'\. I. 163.
Compare "olim" in Latin.
69. Still used for constantly, in accordance with the derivation
of the word, "quiet," "unmoved." It is now used only in the sense
of " even now," "even then." The connection between "during
all time up to the present " and " even at the present " is natural,
and both meanings are easily derived from the radical meaning,
"without moving from its place." Comp. the different meanings
oi dum, donee, 'iois, &c.
£ 2
52 SHAKESPEARIAN GRAMMAR.
** Thou still hast been the author of good tidings."
Hamlet, ii. 2. 42.
*' But this thy countenance still lock'd in steel
I never saw till now." — T. and C. iv. 5. 195.
i.e. "because it was constantly lock'd in steel."
And this is the best, though not the most obvious, interpretation of
" But still the house affairs would draw her hence."
Othello, i. 3. 147.
It is used as an adjective for constant (though some suggest
"silent") in
"But I of thee will wrest an alphabet,
And by still practice learn to know the meaning."
T. A. iii. 2. 44.
This interpretation is corroborated by
"But that still use of grief makes wild grief tame,
My tongue should to thy ears not name my boys."
Ric/i. in. iv. 3. 229.
70. Than is used for then :
' ' And their ranks began
To break upon the galled shore and than
Ketire again." — R. of L. 456.
Then for than, freq. in North's Plutarch, Ascham, &c.
In O. E. the commonest forms are "thanne" = then; "then'*
= than.
Then and than (like turn and tarn, quum and quam in Latin) are
closely connected, and, indeed, mere varieties of the same word.
They were originally inflections of the demonstrative, and meant "at
that (time)," "in that (way)." As "that "is used as a relative,
"than "has the signification of "in the way in which" {quam),
just as then (71) is used for "at the time at which" {quum). It is
usual to explain " He is taller than I " thus : " He is taller ; then
I am tall." This explanation does not so well explain "He is
not taller than I." On the whole, it is more in analogy with the
German als, Latin quam, Greek r\, to explain it thus : " /s^ the way
in which I am tall he is taller." The close connection between
"m that way," "at that time," "in that place," &c., is illustrated
by the use of there for thereupon, or then.
**Even there resolved my reason into tears. ' — L. C. 42.
ADVERBS. 53
71. Then apparently used for " when." So in E. E. See
That, 284.
** And more more strong, then lesser is my fear,
I shall endue you with ; meantime but ask," &c.
K. J. iv. 2. 42.
72. TO'fore, which was as common in E. E. as "be-fore" and
" a-fore," is found in
" O would thou wert as thou to-fore hast been."
T. A. iii. 2. 294.
73. Too, which is only an emphatic form of "to" (compare
vpos in Greek, used adverbially), is often spelt "to" by Elizabethan
writers {Sonn. 38, 86); and conversely, "too" is found for "to"
[Sonn. 56, 135).
Too seems used, like the E. E, "to," for "excessively" in
Spenser, Shepheard's Calendar, May :
"Thilke same kidde (as I can well devise)
Was too very foolish and unwise."
Perhaps, also, in
"Lest that your goods too soon be confiscate." — C. of E. i. 2. 2.
though the meaning may be " the goods of you also.^^
"Tempt him not so too far." — A. and C. i. 3. 11.
And there is, perhaps, an allusion to the E. E. meaning in "too-too,"
which is often found in Elizabethan English.
Too is often used in the phrase, " I am too blame" (Folio)
" I am much too blame."
0. iii. 3. 211, 282 ; M. of V. v. i. 166 ; Rich. III. ii. 2. 13.
This is so common in other Elizabethan authors, that it seems to
require more explanation than the confusion between "to" and
"too" mentioned above. Perhaps "blame" was considered an
adjective, as iu
"In faith, my lord, you are too wilful-blame."
I Hen. IV. iii. i. 177.
and " too" may have been, as in E. E., used for " excessively."
Too seems used for "very much," or "too much," in
" Tell him that gave me this (wound), who lov'd him too^
He struck my soul and not my body through."
B. and F. F. Sh. iii. i.
54 SHAKESPEARIAN GRAMMAR.
The context will hardly admit of the interpretation, " Me who also
lov'd him."
The transition from the meaning of progressive motion to that of
"increasingly" or "excessively," and from "excessively" to the
modern " to excess," is too natural to require more than mention.
73 a. What, when. What and when are often used as ex-
clamations of impatience :
*' What, Lucius, ho V —J. C. ii. i. 1.
" When, Lucius, when?" — lb. 5.
Some ellipsis is to be supplied, "What (is the matter)?" "When
(are you coming)?" So in '
" Gaunt. Throw down, my son, the duke of Norfolk's gage.
K. Rich. And, Norfolk, throw down his.
Gaunt. When, Harry, when .?" — Rich. II. i. I. 162.
See also What, 253.
74. Whilst. *' The while'''' is often used in accordance with the
derivation of the word for "(in) the (mean) time." The inflected
forms tvhiles and whitest are generally used as conjunctions. But we
nave
" If you'll go fetch him
We'll say our song the zuhilst.''^ — Cymb. iv. 2. 254.
75. Why (instrumental case of E.E. hzua, "who"), used aftei
"for," instead of "wherefore." Like the Latin "quid enim ?" it
came after a time to mean "for indeed," as
"And send the hearers weeping to their beds ;
For why, the senseless brands will sympathise."
Rich. IL V. I. 40.
i.e. "wherefore? (because) the senseless,*" &c. The provincialism
"whyfore" still exists. "For" does not correspond to "enim,"
but is a preposition by derivation. Later writers, hoM'ever, and
possibly Shakespeare, may have used "for" in "for why" 2^% a
conjunction. Some, however, maintain that the comma should be
removed after "for why," and that " for why" (like avd' &v) means
"for this that," "because," the relative containing an implied
antecedent.
A distinction seems drawn between " why " and " for what" in
" Why, o\ for wJiat these nobles were committed
Ls all unknown to me, my gracious \didy." —Rich. I/I. ii 4. i8.
ADVERBS. 55
Why, perhaps, refers to the past cause, for what to the futuic
object.
*' Ant. S. Shall I tell you why ?
Drom, S. Ay, sir, and xuherefore ; for they say every why hath a
vfherefore." — C. of E. ii. 2. 43-45.
i.e. " every deed said to be done owing to a certain cause is really
done for a certain object."
Compare
** Say, why is this ? Wherefore ? What shall we do ? "
Hamlet, i. 4. 57.
"Why" and "how "are both derivatives of the relative, and are
sometimes interchanged in A.-S. "Why" seems to have been
the ablative of instrument, and "how" the adverbial derivative of
manner, from "who."
76. Yet (up to this time) is only used now rfter a negative, "not
yet," " never _yi?/," &c. Then it was also used before a negative.
" For {vi?) yet his honour never heai'd a play." — T. of Sh. Ind. I. 96.
" Yet I have not seen
So likely an ambassador of love." — M. of V. ii. 9. 92.
" Yet (up to this time) they are «^/ joined." — A. and C. iv. 12. 1.
" I will make one of her women lawyer to me, for \yet not under-
stand the case myself." — Cynih. ii. 3. 80.
The following is a remarkable passage :
" Hel. You, Diana,
Under my poor instructions _j/^/ (still) must suffer
Something in my behalf.
Diana. Let death and honesty
Go with your impositions, I am yours
Upon your will to suffer.
Hel. Yet {i.e. for the present) I pray you ;
But with the word the time will bring on summer," &c.
A. W. iv. 4. 30.
i.e. "a little longer I entreat your patience, but," &c.
Yet is also used in this sense without a distinct negative :
" Solan. What news on the Rialto ?
Salar. W\\y yet it lives there uncheck'd that Antonio," &c.
M. of V. iii. I. 1.
77. The adverbs backwa.rd and inward are used as nouns.
"In the dark backaiard ^cndi abysm of time." — Temp. i. 2. .50.
*• I was an imvard of his." — M. for M. iii. 2. 18»
56 SHAKESPEARIAN GRAMMAR.
So ** Thou losest here a better where to find." — Lear^ i. i. 264.
" Nor can there be that deity in my nature
Of here-and-everyiuhere.''^ — T. N. v. I. 235.
i.e. *' the divine attribute of ubiquity. "
Then, as with us, was used as an adjective.
"Our //^.?« dictator."— CVr/^/. ii. 2. 93.
So *' GooA. soi?ietime (\UQ&n." — Rich. II. v. i. 37.
** Our here approach."— i^a^'^. iv. 3. 133. See CompOUndS.
78. Adverbs after "is." We still say **that is well;" but,
perhaps, no other adverb (except " soon") is now thus used. Shake-
speare, however, has
''^\iz.i'% verily. ''—Tempest, ii. i. 321.
^^T^zlCs worthily."* — Coriol. iv. I. 53.
*' Lucius' banishment was wrongfully.'''' — T. A. iv. 4. 16.
Some verb, as "said" or "done," fe easily understood. "In
harbour" has the force of a verb in
^^ Safely in harbour
Is the king's ship." — Tempest, i. 2. 226.
ARTICLES.
79. An, A, (Early Eng. An, Ane, On, One, a, o,) our indefinite
Article, is now distinguished from our Numeral "one." In Early
English, as in modern French and German, there was no such dis-
tinction. Hence, even in Elizabethan English, a (since it still repre-
sented, or had only recently ceased to represent, " one") was more
emphatic than with us, a fact which will explain its omission where
we insert it, and its insertion where we should use some moi'e
emphatic word, "some," "any," "one," &c.
80. An and one, pronunciation of. The connection between
"an "and "one" appears more obvious when it is remembered
that "one" was probably pronounced by Shakespeare, not as now
"won," but "un." This is made probable by the constant elision
of " the " before " one " in " th' one " as in " th' other : " compare
"th'one"in
" Tn one sweetly flatters, t' other feareth harm." — R. of L. 172.
* The verb "hear" may be supplied from the context.
ARTICLES. 57
So Rich. II. V. 2. 18. Ben Jonson (783) mentions as authorized
contractions, " y'once " for "ye once" along with **y'utter." Com-
pare also the pun in T. G. of V. \\. \. 2> '.
^^ Speed, Sir, your glove.
Val. Not mine ; my gloves are on.
Speed. Why, then, this may be yours, for this is but one. '*
This will explain the rhyme :
"So thanks to all at once and to each one
Whom we invite to see us crowned at Scone."
Macbeth, v. 8. 74-5.
In the dialect of the North 6f England and of Scotland, the
" w " is still not sounded.
** An " was always used in A.-S. and mostly in E.E. before con-
sonants as well as vowels: "ane kinges . . . dohter" (Stratmann).
I have not found an instance in Shakespeare of "an" before an
ordinary consonant, but it occurs before " w " :
" Have an wish but for't."— /». of T. iv. 4. 2.
81. A was used for one in such expressions as " He came with
never a friend, " &c.
" He and his physicians are of a mind." — A. W. i. 3. 244.
" 'Fore God, they are both in a tale." — M. Ado, iv. 2. 33.
" An two men ride of a horse one must ride behind."
lb. iii. 5. 44.
" For in a night the best part of my power
Were in the Washes . . . devoured." — K. J. v. 7. 64.
So " The Images were found in a night all hacked and hewed."
N. P. 172.
" We still have slept together.
Rose at an instant, leam'd, play'd, eat together."
A. Y. L. i. 3. 76.
" Myself and a sister both bom in an hour." — T.N. ii. i. 20.
" You, or any living man, may be drunk at a time, man."
Othello, ii. 3. 319.
I.e. " at one time," " for once."
"These foils have all a length."— Hamlet, v. 2. 277-
We find " one" and "a" interchanged in
" Hear me 07ze word :
Beseech you, tribunes, hear me but a word. "
Coriol. iii. I. 218.
" But shall we wear these honours for a day ?
Or shall they last V'—Rich. IIL iv. 2. 5.
58 SHAKESPEARIAN GRAMMAR.
We never use the possessive inflection of the unemphatic cm
as an antecedent ; but Shakespeare writes :
" For taking ones part that is out of favour." — Lear, i. 4. 111.
We also find in Early English :
" Thre persones in a Godhede." — Halliwell.
vvlierevz is for one. Compare Scotch *'ae" for "one."
It seems used for " any," i.e. ane-y, or one-y, in
"There's not a one of them." — Macb. iii. 4. 131.
"Ne'er a one to be found." — B. J. E. in &=c. iii. 2.
So Cymb. i. i. 24.
And emphatically for "some," "a certain," in
" There is a thing within my bosom tells me."
2 Hen. IV. iv. I. 183.
* I should impart a thing to you from his majesty. "
Hamlet, v. 2. 02.
" Shall I tell you a thing?"— Z. Z. Z. v. i. 152.
" I told you a thing yesterday." — Tr. and Cr. i. 2. 185.
" And I came to acquaint you with a matter."
A. Y. L. i. I. 129
82. A and The omitted in archaic poetry. In the infancy
of thought nouns are regarded as names, denoting not classes but
individuals. Hence the absence of any article before nouns.
Besides, as the articles interfere with the metre, and often supply
what may be well left to the imagination, there was additional
reason for omitting them. Hence Spenser, the archaic poet, writes
" Fayre Una — whom salvage nation does adore."
F. Q. i. 6. Title.
" And seizing crnell dawes on trembling br est.'''' — lb. i. 3. 19.
^^ Faire virgin, to redeem her deare, brings Arthure to the
fight."— /^. i. 8. Title.
"From ragi7tg spoil oi lazulesse victoj's vf'ilV — lb. i. 3. 43.
" With thrilling poi7it of deadly yron brand." — lb. i. 3. 42.
Shakespeare rarely indulges in this archaism except to ridicule it:
" Whereat zvith blade, with bloody blameful blade,
He bravely broached his boiling bloody breast ;
And Thisby, tarrying in mulberry shade.
His dagger drew and died." — M. N. D. v. I. 147.
Somewhat snnilar is
"/« glorious Christian /ft'A/." — Rich. II. iv. 1. Oa.
ARTICLES, 59
" When lion rough in wildest rage doth roar."
M. N. D. V. I. 224.
** Ah ! Richard with the eyes of {my or the) heavy 7?tind.'"
Rich. II. ii. 4. 18.
** So, longest way shall have the longest moans."
lb. V. I. 90.
In a ititheses, as
* * And with no less nobility of love
Than that which dearest father bears his son, "
Hamlet, i. 2. 111.
tlie omission of the is intelligible, since the whole class is expressed.
But it appears not uncommon to omit the article before superlatives :
" Best safety lies in fear." — Hamlet, i. 3. 41.
This is, perhaps, explained by the double meaning of the super-
lative, which means not only " the best of the class," but also "very
good." See 8.
83. A and The are also sometimes omitted after as, like, and
than in comparative sentences :
" As falcon to the lure away she flies." — V. and A. 1027.
" The why is plain as way to parish church."
A. V. L. ii. 7. 52.
** More tuneable than lark to shepherd's ear."
M. N. D. i. I. 184.
This :s, however, common both in early and modem English.
In such sentences the whole class is expressed, and therefore the
article omitted. It might be asked, however, why * the lure " on
this hypothesis? The is put for its. So in E. E. (Matzner, iii. 195)
" ase hound doth (chase) the hare," i.e. *' its prey the hare."
A is still omitted by us in adverbial compounds, such as
"snail-like," "clerk-like," &c. Then it was omitted as being uu-
Ciecessarily emphatic in such expressions as :
" Creeping like S7!ail." —-A. Y. L. ii. 7. 146.
*^ ^'i^hmg like furnace.'^ — lb. 148.
"And like iinletter'd clerk^ — Sonn. 85.
"Like snail " is an adverb in process of formation. It is inter-
mediate between "like a snail" and "snail-like."
84. A being more emphatic than with us, was sometimes omitte<i
where the noun stands for the class, and might almost be replaced by
the corresponding adjective. " If ever I were traitor, ^^ Rich. II. i. 3
201 — traitorous. Similarly.
6c SHAKESPEARIAN GRAMMAR.
" And having now shown himself open enemy to Alcibiades."
N. P. 176.
So, though we find "never a master" in the sense of "nott^«c
master," yet where the "never " is emphasized and has its propel
meaning, " at no time," the a is omitted :
*' Those eyes which nev.'.r shed remorseful tear."
Rich. III. i. 2. 156.
" In war was «^^r lion rag'd so fierce." — Rich. II. ii. I. 173.
" Never master had a page so kind." — Cymb. v. 5. 85.
" Was ever king that joy'd an earthly throne."
2 Hen. VI. iv. 9. 1.
** 'Twas never merry world since," &c. — T. N iii. I. 109.
On the other hand, in contrast to the example first quoted, when the
"never" is omitted and an is emphatic, almost like ^«^, it is in-
serted :
" My manly eyes did scorn an humble tear."
Rich. in. i. 2. 165.
A is also omitted before collective nouns, such as "plenty,"
"abundance," &c., and therefore before "great number" in
"Belike you slew great number of his people." — T. N. iii. 3. 29.
85. A inserted after some adjectives used as adverbs :
" It was upon this fashion bequeathed me by will but poor a
thousand pounds." — A. Y. L. i. I. 2.
This usage is found in the earlier text of Layamon (a.d. 1200):
'■^ Long a time (longe ane stunde)," ii. 290, &c., where the adjective
appears merely to be emphasized, and not used adverbially. In the
later text the adjective is placed, here and in other passages, in its
ordinary position. The adjectives "each," " such, "" which, "
(used for "of what kind,") and "many" were especially often thus
used. " At ZiT/^ « mel " = "at each meal," Piers Plough. Crede.
109. (So in Scotch "ilka.") '' Whiche a wife was Alceste,"
Chaucer, C. T. 11754 = ''what a wife." "On moni are {later
text, mani ane) wisen," Layamon, i. 24 ; ''monianesc\xmit.%" ib. 39 ;
" of many a kind (/. t. of manian erthe)," " of many an earth."
The last-quoted passages render untenable the theory (Arch-
bishop Trench, English Pasi and Present) which explains "many
a man" a3 a corruption of "many of men." In these passages,
t.g. " moni anes cunnes" {" of many a race "), the article or numeral
ARTICLES. 6 1
adjective "an " is declined like an adjective, while ** moni " is not.
The inference is, that "moni "is used adverbially. In the same
way the Germans say "mancher (adj.) mann^" but "manch (adv.)
ein mann," '■^ ein solcher (adj.) mann," but " solch (adv.) dn mann."
In A.-S. the idiom was "many man," not " many a man." The
termination in j, causing "many" to be considered as adverbially
used, may not perhaps account for the introduction of the a into
E. E., but it may account for its retention in Elizabethan and
modern English. Nor can it escape notice that most of the
adjectives which take a after them end in ch^ or lie ("like"), an
adverbial termination. So beside tjie adjectives enumerated above,
"thellich" (modern Dorsetshire, "thilk" or "thick"), "the like,"
aaswering to "whilk" ("which"), is followed by a. A'va the fol-
lowing ©xample is a preposition meaning on or in .
"Ful ofie [a day he swelde and seyde alas ! "
Chaucer, Knightes Tale, 498.]
It is perhaps some such feeling, that "many" means "often," which
justifies the separation of " many " and "a " in the following:
" I have in vain said many
A prayer upon her grave." — W. T. v. 3. 144.
Perhaps in this way (as an adjective used adverbially) we must
explaip (compare " none (adj.) inheritance," Acts vii. 5) :
" Exceeding pleasant ; «^«(f(adv.) « stranger there
So merry and so gamesome." — Cymb. i. 6. 59.
like "ne'er a stranger," unless after "none" we supply "who
was."
A is pleonastically used in
" I would not spend another such a night." — R. III. i. 4. 5.
In " What poor an instrument" {A. and C. v. 2. 236), "what"
is used for "how."
86. A was sometimes omitted after "what," in the sense ol
"what kind of."
"Cassius, what night is this?"— y. C. i. 3. 42.
[A has been unnecessarily inserted by some commentators.)
"I'll tell the world
Aloud what man thou art." — M. for M. ii. 4. 153.
** jove knows what man thou mightst have made."
Cymb. iv. 2. 207
62 SHAKESPEARIAN GRAMMAR.
** What dreadful noise of waters in mine ears."
Rich. III. i. 4. 22,
" What case stand I in?" {W. T. \. 2. 352) = In what a
position am I ?
** What thing it is that I never
Did see man die !" — Cymb. iv. 4. 35.
We omit the article after " what " before nouns signifying a col-
lective class, saying "what wickedness!" but "what a crime!"
" what fruit !" but " what an apple !" Hence the distinction in the
following : " What a merit were it in death to take this poor maid
from the world ! What corruj^tion in this life that it will let this
man live V'—M.forM. iii. i. 240.
A is omitted after " such :"
* ' Showers of blood,
The which, how far off from the mind of Bolingbroke
It is such crimson tempest should bedrench," &c.
Rich. II. iii. 3. 46.
Here "such" probably means "the aforesaid," referring to the
" showers of blood."
After "such" in this sense the indefinite article is still omitted ;
naturally, since " such " is used in a defining sense.
A is omitted after "many" in ^^ Many time and oft" {1 Hen. VI.
ii. I. 93). Here " many-time," like "some-time," "often- times,"
" many-times" (Montaigne, Introductmt), seems used as one word
adverbially.
A is omitted before " little," where we commonly place it in the
sense of "some:"
" O, do not swear ;
Hold {a) little faith, though thou hast too much fear."
T. N.v. I. 174.
It is perhaps catised by the antithesis which assimilates the use of
"little" to the use of "much." "In (a) /z///^ time " {V. and A.
132) is to be explained as a prepositional phrase approximating to
an adverb : see 89.
87. A was frequently inserted before a numeral adjective, for the
purpose of indicating that the objects enumerated are regarded
collectively as one. We still say "a score," " a fo(u)rt(een)-night **
But we also find :
^^ An eight days after these saymgs." — Luke ix. '2R
ARTICLES. 63
** A two shilling or so."— B. J. E. in &^c. i. 4 ad fin.
** 'Tls now a nineteen years agoue at least."— B. J. Case is altered.
AJso in E, E. :
^^ An five mile." — Hallivvell.
This usage is not common in Shakespeare, except after "one."
"But <7«^ seven ^ymrj." — Coriol. iv. I. 55.
The a is omitted in
" But this our purpose now is twelve-month old."
I Hen. IV. i. I. 28.
Compare '* This three mile." — Macbeth^ v. 5. 37.
The rt in "a many men," "^ few men," is perhaps thus to be
explained. Compare " This nineteen years" {M. for M. i. 3. 21),
with *' This many summers'''' {Hen. VIII. iii. 2. 360). So
^^A wa;zy merry men." — A. Y. L. i. i. 121.
^*A many thousand warlike French." — IC. J. iv. 2. 199.
So Hen. V. iv. i. 127; iv. 3. 95. And still more curiously :
"But many a many foot of land the worse." — K. y.i.l. 183.
Some explain "a many" by reference to the old noun '* many,"
"a many men," for " a many (of) men. " And the word is thus used :
*M ;;/rt;y/ of our bodies. " — Hen. V. iv. 3. 95.
" O thou fond many, with what loud applause
Didst thou beat heaven." — 2 Hen. IV. i. 3. 91,
" In many's looks." — Son7t.'<^Tf.
So perhaps A. W. iv. 5. 55. Add "their meiny" Lear, ii. 4. 35.
Nor can it be denied that in E. E. "of" is often omitted in such
phrases as " many manner (of) men," " a pair (of) gloves," &c. just
as in German we have " diese Art Mensch." But we also say "a
few men" (an expression that occurs as early as Robert of Brunne),
and " few " seems to have been an adjective.
It is probable that both the constructions above-mentioned are
required to explain this use of a. Thus "a hundred men" is for
"a hundred (of) men," but in "a twelvemonth," "a fortnight,"
"twelve" and "fourteen" are not regarded as simple nouns, bui as
compound nouns used adjectively. Compare the double use of
"mille," "miljia," in Latin.
64 SHAKESPEARIAN GRAMMAR.
88. An-Other. A is apparently put for the in
** There is not half a kiss to choose who loves an other best."
W. T. iv. 4. 176.
This is, however, in accordance with our common idiom : "they
love one an other," which ought strictly to be either "they love, the
one the other," or " they love, one other." The latter form is still
retained in "they love each other;" but as in "one other" there
is great ambiguity, it was avoided by the insertion of a second " one"
or "an," thus, "they love one an-other." This is illustrated by
Matt. xxiv. 10 (Tyndale) : "And shall betraye one a/zother and
shall hate one the other;" whereas Wickliffe has, "ech other."
So I Cor. xii. 25: Wickliffe, " ech for other ; " the rest "for one
another." "One another " is now treated almost like a single
noun in prepositional phrases, such as, "We speak to one another."
But Shakespeare retains a trace of the original idiom in
" What we speak one to an other." — A. W. iv. i. 20.
X 89. The was frequently omitted before a noun already defined
by another noun, especially in prepositional phrases,
"7;z number o{ our friends." — y. C. iii. I. 216.
^^ Since death of n\y dearest mother." — Cymb. iv. 2. 190.
^^ At heel of \hdX defy him." — A. and C. ii. 2. 160.
"/;/ absence of thy friend."— r. G. of V. i. I. 59.
" To sternage of their navy." — Hen. V. iii. Prol. 18.
*« To relief of lazars."— 73. 1. i. 15.
*^ For honour of Qyxx\2sv^.^^ — lb. iii. 5. 22.
" Thy beauty's form in table of my heart." — Sonn. 24.
"Some beauty peep'd through lattice ^sear'd age."
Z. C. St. ii.
" Forage m /^/i?^^/ ^ French nobility. " — Hen. V. i. 2. 110.
"/« cradle of ihQ rude imperious surge." — iHen.IV. iii. i. 20,
" Provingyr^w world's minority their right." — R. of L.
"On most part of their fleet. "— 6>//^<?//^, ii. i, 24.
So I Hen. VI.*\. 2. 79 ; 2 He7t. VI. i. 2. 36, 79; Rich. II. i. 3. 136.
We could say " in season," but not
"We at (the right) time of (the) year
Do wound the bark. " — Rich. II. iii. 4. 57.
So even in Pope :
"Alas, young man, your days can ne'er be long;
lx\ flower of age you perish for a song."
Pope, Imit. Hor. i. 102.
ARTICLES. 65
90. The is also omitted after prepositions !n adverbial phrases.
''Atdoor:'—W. T. iv. 4. 352; T. of Sh. iv. t 125.
«* Atpalace:'~W. T. iv. 4. 731.
*♦ At height:'— Hamlet, i. 4. 21.
" Ere I went to wars" — AI. Ado, i. i. 307.
*• To cabin." — Tetnpesty i. i. 17.
" The grace 'fore meat and the thanks at end. '
Coriol. iv. 7. 4.
** You were m/^rj^wr*? then." — Rich. II. iv. i. 62. '
i.e. "in the presence-chamber."
" And milk comes frozen home in pail." — L. L. L. v. 2. 925.
** With spectacles on nose and pou':h on side."
A. Y. L. ii. 7. 159.
** This day was viewed in open as his queen."
Hen. VIII. iii. 2. 405.
" He foam'd at mouth."— J. C. i. 2. 256.
** Sticksmea//^mr/."— ^. Y. L. i. 2. 254.
** Exeunt in manyier as they entered."— /7^;?. VIII. 'n.'A- 24
** Than pard or catV-woMw/fl'/w." — Tempest ^ iv. i. 262.
And with adjectives :
** In humblest manner." — Tempest, ii. 4. 144.
*' InJirstxz.VLV."—Tr. and Or. iii. 3. 161.
** In pail" is as justifiable as "in bed," except that the former,
not being so common as the latter, has not the same claim to the
adverbial brevity which dispensed with the article. Both are adver-
bial phrases, one of which has been accepted, the other rejected.
Thus in
** Stealing unseen to west with this disgrace." — Sonn. 33.
'* to-west " is as much an adverb as " west-ward."
Sometimes a possessive adjective is thus omitted :
•* Not Priamus and Hecuba on knees." — Tr. and Cr. v. 3. 53.
So in E. E. "a-knee."
Compare our " I have at hand."
Perhaps this may explain the omission of " the" after "at" in
*• We are familiar at first:'' — Cyjub. \. 4. 112.
where " at first " is not opposed to " afterwards " (as it is vriih us),
but means " at the first," or rather "from the first," "at once."
F
66 SHAKIf:SPEARIAN GRAMMAR.
The omission of " the " in
*' On one and other side Trojan and Greek
Sets all on hazard." — Tr. and Cr. i. i. 21.
is in accordance with our idiom, *' one another" and " each other."
On the other hand, where ** the" is emphatic, meaning " that" oi
*' (he right," it is sometimes inserted before " one."
" Morocco. How shall I know if I do choose the right ?"
Portia. The one of them contains my picture, prince. "
M. of V. ii. 7. 11.
91. The was inserted in a few phrases which had not, though
they now have, become adverbial. "At the length" (N. F. 592),
" At the first," ** At the last," &c.
"There in the full convive we." — Tr. and Cr. iv. 5. 272.
*' In the favour of the Athenians." — N. P. 177.
92. The used to denote notoriety, &c. Any word when referred
\o as being defined and well known may of course be preceded by
the article. Thus we frequently speak of '■'■ the air." Bacon [E. 231)
ftowever wrote, '* The matter (the substance called matter) is in a
perpetual flax."
The\% sometimes used (compare Latin "ille") for " i'/^*? celebrated, "
^^ the one above all others," occasionally with " alone," as
" I am alone the villain of the earth." — A. and C. iv. 6. 30,
Or with a superlative :
" He was the wretched' st thing when he was young,"
Rich, in. ii. 4. 18.
** The last (prayer) is for my men : they are the poorest ;
But poverty could never draw 'em from me."
Hen. VI II. iv. 2. 148.
But also without these :
" Am I the man yet?" — A. Y. L. iii. 3. 3.
" Smacks it not something of the policy ?" — IC y. ii. i. 396.
" For their dear causes
"Would to the bleeding and the grim alarm
Excite the mortified man," — Macbeth, v, 2. 4.
The ellipsis to be supplied is added in
"Are you the courtiers and the travell'd gallants?
The spritely fellows that the people talk of?"
B. and F. Elder Brother, iv. I
ARTICLES. 67
The seems to mean " the same as ever" in
" Live you M<f marble-breasted tyrant still." — T. N. v. i. 127.
It is not often that "the" is used in this sense before English
proper names. In
"The Douglas and the Percy both together,"
I Hen. IV. V. I. 116.
the second the may be caused by the first, which, of course, is still
used, '■^ the Bruce," "///<? Douglas," being frequent, and explicable
as referring to the chief of the Douglases and Bruces. But we also
have
" To leave the Talbot and to follow us."— i Hen. VI. iii. 3. 20, 31.
and so in Early English ** the Bnite," ** the Herod."
The is seldom used, like the article in French, for the possessive
adjective :
* The king is angry : see, he bites the lip. "
Rich. Ill iv. 2. 27.
The word "better" is used as a noun, and opposed to "the
worse," (compare the French proverb, " le mieux est I'ennemi
dii bien,") in
" Bad news, by'r lady; seldom comes the better."
Rich. III. ii. 3. 4.
"Death," the ender of life, seems more liable to retain the mark
of notoriety than " life." Hence
" Where they feared the death, they have borne life away."
Hcji. V. iv. I. 81 ; Rich. Ill i. 2. 179 ; ii. 3. 55.
So " Dar'd to the combat." — Hamlet, i. i, 84.
i,e. "the combat that ends all dispute." French influence is per-
ceptible in these two last instances, and in
" To shake the head."— il/. of V. iii. 2. 15.
The which (see Relative), 270.
93. The frequently precedes a verbal that is followed by an
object :
" Whose state so many had the managing." — Hen. F! 'Epilog.
" You need not fear the having any of these lords."
M. ofV.i.2. loa
" The seeing these effects will be
Both noisome and infectious." — Cymb. i. 5. 25.
F 2
6S SHAKESPEARIAN GRAMMAR.
" r. Pray, sir, in what ?
D, In the delaying death." — M. for M. iv. 2. 172.
'* Nothing in his life
Became him like the leaving it." — Macb. i. 4. 8.
** The locking up the spirits." — Cymb. i. 5. 41.
So Lear, iv. 4. 9 ; Hen. VII L iii. 2. 347 ; M. for M. iii. 2. 126 .
yJ/. e/" V. iv. I. 309 ; M. Ado, ii. 2. 53 ; 0. iii. 4. 22 ; T. N. i. 5. 84.
The question naturally arises, are these verbals, "locking," &c.
nouns? and, if so, why are they not followed by "of," — e.g. "the
lockmg of the spirits"? Or are they parts of verbs? and in that
case, why are they preceded by the article ? The fact that a verb in
E. E. had an abstract noun in -ing (A.-S. -ung) — e.g. "slaeten," to
hunt ; "slaeting," hunting — renders it a priori probable that these
words in -ing are nouns. Very early, however, the termination -ng
was confused with, and finally supplanted, the present participle
termination in -nde. Thus in the earlier text of Layamon (iii. 72)
we have "heo riden singinge" i.e. "they rode singing ;" and in the
later text the proper participial form '■'■ singende.''^ An additional
element of confusion was introduced by the gerundial inflection enney
e.g. "singenne," used after the preposition "to." As early as the
twelfth century "to singenne" (Morris, E. E. Specimens, p. 53)
became "to singende," and hence (by the corruption above men-
tioned) "to singinge." Hence, when Layamon writes that the
king went out " an-slaeting " (ii. 88), or "a-slatinge" (iii. 168), it is
not easy to prove that the verbal noun is here used : for the form
may represent the corruption of the gerund used with the preposition
"an" instead of with "to." And as early as Layamon we find the
infinitive "to kumen" side by side with the present participle "to
comende" (i. 49) ; and the gerund "cumene" side by side with the
verbal "coming" (iii. 231) ; and the noun "tiding(s)" spelt in the
earlier text "tidind" or "tidinde," the present participle (i. 59).
The conclusion is, that although " locking " is a noun, and therefore
preceded by "the," yet it is so far confused with the gerund as to
be allowed the privilege of governing a direct object. The " of"
was omitted partly for shortness, as well as owing to the confusion
above mentioned.
It is easy to trace a process of abridgment from
•* For the repealing of my banish'd brother," — y. C. iii. I. 51.
ARTICLES. 69
to (2^ ** Punish my life for (89) tainting ^/my love,"
T. N. V. I. 141.
down to our modern (3) ** for tainting my love." And hence the E. E.
(William of Palerne, edit. Skeat), "for drede of descuverynge of
that vi^as do," 1. 1024, "of kastyng (j/lokes," 1. 942, are abbreviated
in modem English into "disclosing that which was done" and
"casting looks." This abbreviation is also remarkably illustrated
bv Bacon in his third Essay. He first uses the abbreviated fonn,
and then, with a verbal noun that could not so easily have a verbal
force, he adopts the full form : "Concerning the Means oi precuring
Unity. Men must beware that in the Procuring or Muniting of
Religious Lnity, they do not dissolve and deface the Laws of
Charity." It is perhaps this feeling that the verbal was an ordinary
noun, which allows Shakespeare to make an adjective qualify it
even though of'xs, omitted after it.
" He shall have old turning the key." — Macbeth, ii. 3. 2.
The substantival use of the verbal with "the" before it and
"of" after it seems to have been regarded as colloquial. Shake-
speare puts into the mouth of Touchstone :
"I remember the kissing ^her batlet and . . . the ivooing of
a peascod instead of her." — A. Y. L. ii. 4. 49-51.
" Did these bones cost no more (in) the breeding?"
Hamlet, v. i. 100.
94. The (in Early Eng. thi, thy) is used as the ablative of the
demonstrative and relative, with comparatives to signify the measure
of excess 01 defect.
This use is still retained. " The sooner the better," i.e. " By hmu
much the sooner by so much the better," (Lat. ''''quo citius, eo melius." )
It is sometimes stated that "the better" is used by Shakespeare
for " better," &c. : but it will often, perhaps always, be found that
the has a certain force.
" The good conceit I hold of thee
Makes me tJu better to confer with thee." — T. G.ofV. iii. 2. IJf.
"77/^ rather
For that I sa.yv. "—Macb. iv. 3. 184.
In both passages "the " means " on that account." In
" Go not my horse the better
I must become a borrower of the night," — Macb. \\i. I. 25.
Baiiquo is perhaps regarding his horse as racing against night, and
70 SHAKESPEARIAN GRAMAIAK.
" Mi? better" means ^^ the better of the two." The following pas-
sage has been quoted by commentators on the passage just quoted,
to show that "the" is redundant. ''And hee that hit it (the
quintain) full, if he rid not the faster, had a sound blow in his
neck, with a bag full of sand hanged on the other end." — Stowe's
Survey of London, 1603. But the rider is perhaps here described
as endeavouring to anticipate the blow of the quintain by being
**■ the faster" of the two. Or more probably, ^'' the faster" may
mean the faster becatise he had struck the quintain, which, if struck,
used to swing round and strike the striker on the back, unless he
rode the (" on that account ") faster. In either case it is unscholar-
like to say that the is redundant.
CONJUNCTIONS.
95. And (in old Swedish cen [Wedgewood] is used for "and,"
**if," and "even") emphatically used for "also," "even," "and
that too." We still use "and that" to give emphasis and call
attention to an additional circumstance, e.g. "He was condemned,
and that unheard." This construction is most common in parti-
cipial phrases. The "that" is logically unnecessary, and is omitted
by Shakespeare.
" Suffer us to famish aw^ their storehouses crammed with grain."
—Coriol. i. 1. 82.
" And shall the figure of God's majesty
Be judged by subject and inferior breath,
^«^/ he himself not present?*' — Rich. II. iv. I. 129.
"When I have most need to employ a friend,
And most assured that he is a friend,
Deep, hollow, treacherous, and full of guile
Be he unto vsxt.'"—Rich. III. ii. i. 37.
In the last two passages an ellipsis of " be" or "to be " might be
understood, but scarcely in the following :
" So may he ever do and ever flourish
When I shall dwed with worms, and vay poor name
Banish'd the kingdom."— //"m. VIII. iv. 2. 126.
"The friends thou hast, and their adoption tried,
Grapple them to the soul with hoops of steel."
Il^mlct. i. 3. 62.
Compare 3 Hen. VI. i. 2. 47 ; Tr, and Cr. i. 3. 51.
CONJUNCTIONS. fi
So perhaps Hamlet^ iii. 3. 62; T. iV. i. I. 38; and in the following
irregular sentence :
** But a man that were to sleep your sleep, and a hangman to help
him to bed, I think he (redundant pronoun : see 243) would change
places with his officer." — Cymb. v. 4. 179.
i.e. " and that too a hangman being ready to help him to bed."
96. And. This use, though most frequent with participles, is
also found without them :
** Here comes a spirit of his, and to torment me."
Temp. ii. 2. 15.
"He that has and z. little tiny wit." — Lear^ iii. 2. 74.
i.e. " a little and that a very little." So
" When that I was and a little tiny boy."— T. N. v. i. 398.
97, And is frequently found in answers in the sense ^f "you
are right and" or "yes and," the "yes" being implied.* Hence
the "and," introducing a statenvent in exact conformity with a
previous statement, comes almost to mean "exactly." It is fre-
quently found before "so."
*^ Hamlet. Will the king hear this piece of work ?
Pol. (Yes) AndXh^ queen too." — Hamlet, iii. 2. 63.
" Cass. This rudeness is a sauce to his good wit.
Brut. And so it is."— y. C. i. 2. 307.
i.e. "you are right, and so it is;" or "just so," "even so."
*' Pompey. I'll try you on the shore.
Antony. And shall, sir." — A. and C. ii. 7. 134.
i.e. "You say well, and you shall," or "So you shall," "that you
shall," emphatically.
" Sir M. And there's ... a head of noble gentlemen.
Archbishop. And so there is." — I Hen. IV. iv. 4. 27.
*' Parolles. After them, and take a more dilated farewell.
Bertram. And! will do so."— ^. W. ii. I. 60.
I.& " that \sjust what I will do."
^^ Mayor. But I'll acquaint our duteous citizens
With all your just proceedings in this cause.
Glouc. And to that end we wish'd your lordship here."
Rich. in. iii. 4. 67.
i.e. "To that very end," " even to that end."
* So yao in Greek.
72 SHAKESPEARIAN GRAMMAR.
98. And is often found in this emphatic sense after statements
implied by ejaculations, such as "faith," "sooth," "alas," &c.
Thus
*' Catesby. Your friends at Pomfret, they do need the priest.
Hastings. Good faith (it is so), and when I met this holy man
Those men you talk of came into my mind. "
Rich. III. iii. 2. 117.
" Faith, and so we should."- ~i IIe7i. IV. iv. i. 52.
This use is found in A.-S.
99. "And" emphatic in questions. When a question is being
asked, "and," thus used, does not express emphatic assent, but
emphatic interrogation :
"Alas! ««a? would you take the letter of her ?" — A. W. iii. 4. 1.
i.e. "is it so indeed, and further would you actually &c.?" So
''Aiid^Wt thou learn of me?"— 7?/V/z. ///. iv. 4. 269.
i.e. "do you indeed wish to learn of me?"
Hence Ben Jonson, who quotes Chaucer :
"What, quoth she, and he ye wood?"
adds that
" And, in the beginning of a sentence, serveth for admiration." —
B. J. 789.
It is common in ballads, and very nearly redundant : *
" The Perse owt of Northumberlande,
AndQ.\o\v to God made \\q.''— Percy (Matzner).
(Mr. Furnivall suggests "an avow" the original form of the word
"vow.")
100. **And" for "also" in Early English. We find "and"
often used for "also," "both," &c., and standing at the beginning
of a sentence in earlier English. Wickliffe has, 2 Cor. xi. 21, 22 :
"In what thing ony man dare, and I dare. Thei ben ebreus,
audi:'
" And " is used for " even " or " also " in Acts xiv. 15 :
^^ And we ben deedli men like you."
In "I almost die for food, and let me have it," A. Y. L. ii. 7. 104.
" I pray you " may perhaps be understood after and, implied in the
imperative "let."
* 'i'liese instances are said by Mr. Skeat lo be corrupt.
CONJUNCTIONS. 73
101 And or an (= if)- (The modern and is often spelt an in
E. E.) This particle has been derived from a;z, the imperative of
unnan^ to grant. This plausible but false derivation was originatfxi
by Home Tooke, and has been adopted by the editorr of t'lie
Cambridge Shakespeare. But the word is often written and in
Early English (Stratmann), as well as in Elizabethan authors*
'* For and I shulde rekene every vice
Which that she hathywiss, I were to nice." — Chauc. Squires Prol.
*' Alcibiades bade the carter drive over, and he durst." — N./*. 166.
"They will set an house on fire and it were but to roast their
eggs."— B. E. 89.
" What knowledge should we have of ancient things past and
history were not?" — Lord Berners, quoted by B. J. 789.
102. "And" with the subjunctive. The true explanation
appears to be that the hypothesis, the if, is expressed not by the
and, but by the subjunctive, and that ajid merely means -with the
addition of, plusy just as but means leaving out, or minus.
The hypothesis is expressed by the simple subjunctive thus :
** Go not my horse the better
I must become a borrower of the night." — Macb. iii. i. 25.
This sentence with and would become, "I must become a bor-
rower of the night and my horse go not the better," i.e. ^^with, or
on, the supposition that my horse go not the better." Similarly in the
contrary sense, ^^ but my horse go the better," would mean ^'■xvithout
or exccptitig the supposition that my horse, &c." Thus Chaucer, Par-
doneris Tale, 275 :
*' It is no curtesye
To speke unto an old man vilonye
But he trespas."
So also Mandeville {Prologue) :
" Such fruyt, thorgh the which every man is saved, but it be his
owne defaute."
103. And if. Latterly the subjunctive, falling into disuse, wus
felt to be too weak unaided to express the hypothesis ; and the same
tendency which introduced "moro better," " most unkindest," &c.,
superseded and by and if, an if, and if. There is nothing remark-
able in the change of aitd into an. And, even in its ordinary sense,
is often written a7i in Early English. (See Halliwcll.)
• So almost always 111 the Folio. See ladcx tc Kays.
74 SHAKESPEARIAN GRAMMAR.
Ana or an is generally found before a personal pronoun, or "if,"
or "though ;" rarely thus :
^'And * should the empress know." — T. A. ii. i. 69.
In the Elizabethan times the indicative is often used for the
Kubjunctive.
The following is a curious passage : —
" O. Will it please you to enter the house, gentlemen?
D. And yonr favour, lady." — B. J. Szl. Woi?i. iii. 2. medJ
Apparently, '*And your favour (be with us)," i.e. "if you please."
104. An't were was wrongly said by Home Tooke to be put
for "as if it were."
" Cress. O ! he smiles valiantly.
Pand. Does he not ?
Cress. O yes ; and* 'twere a clotid in autumn."
Tr. and Cr. \. 2. 139.
" He will weep you anU were a man born in April."
lb. i. 2. 189.
" I will roar you and * 'twere any nightingale." — M. N. D. i. 2. 86.
*' 'A made a fairer end and went away, and * it had been a Chris-
tom child." — Hen. V. ii. 3. 10.
Some ellipsis is probably to be understood. " I will roar you, and
if it were a nightingale (I would still roar better)."
The same construction is found in E. E.
" Ye answer and ye were twenty yere olde."
Cov. Myst. p. 80 (Matzner;.
It is illustrated by the use of "ac," " atque," after "similis,"
"pariter," &c. thus :
" (Homo) qui prosperis rebus seque ac tu ipse (gauderes) gaud-
?ri?/." — CiC. De Amicitia, vi. I.
i.e. "a man who would rejoice at your prosperity, and yoxx yourself
(would rejoice as much and no more)." " You answer in such and
such a way, and were you twenty years old you would answer
similarly."
105. And if represents both "even if" and "if indeed" {i^
both Koi et and et /cai).
And if is used emphatically for "even if" in
"It dies and* if it had a thousand lives."— I Hm. VI. v. 4. 75
So I Hen. IV. i. 3. 125.
* So Folio,
CONJUNCTIONS, 75
"WhataW*//
His sorrows have so overwhelm' d his wits." — Tit. And. iv. 4. 10.
" He seems to be of great authority, give him gold. And though
authority be a stubborn bear, yet he is oft led by the nose with
gold."— ^. T. iv. 4. 831.
On the other hand, and if seems to mean " if indeed " in the
following passages : —
*' Percy. Seize it if thou darest.
Aum. And* ^I do not, may my hands rot off!"
Rich. II. iv. I. 49.
" Oh father !
And if you be my father, think upon
Don John my husband." — Middleton and Rowley (Walker).
*' Prince. I fear no uncles dead (419).
G/ou. Nor none that live, I hope.
Prince, And* if they live, I hope I need not fear,"
Rich. in. iii. 2. 148,
where the Prince is referring to his materaal uncles who have been
imprisoned by Richard, and he says, * ' if ifideed they live I need
not fear."
Thus probably we must explain :
" O full of danger is the duke of Gloucester !
And the queen's sons and bi-others haught and proud ;
And were they to be ruled, and not to rule,
This sickly land might solace as before." — Rich. III. ii. 3. 29.
Here, at first sight, "but" seems required instead of "and." But
** and were they " means *' if indeed they were."
It is not easy to determine whether and though is used for " even
though" or for " though mdeed " in the following —
",I have now
{Aitd though perhaps it may appear a trifle)
Serious employment for thee." — Massinger (Walker).
In all these passages an or and may be resolved into its proper
meaning by supplying an ellipsis. Thus in the passage from
Rich. II. iv. I. 49, ^^And'xil do not," &c. means, "I will iseize it,
and, if I do not seize it, may my hands rot off. "
106. As+ (A.-S. '*eall-s^va" with the sense "just as") is a con-
traction of al{J)-so. In Early English we find "jc? soon so he
came" The al{l) emphasized the so, ^' a/{l)-so soon al{l)-so he
■" So Folia t Comp. Ar, were, for the various meanings..
76 SHAKESPEARIAN GRAMMAR.
came." Hence through different contractions, alse^ a.'sy ase, we get
our modern as. (Comp. the German als.) The dropping of the
I is very natural if alse was pronounced like "half." The bioad
pronunciation of as may throw light upon the pun in
*' Sir And. And your horse now would make him an ass.
Mar. Ass 1 doubt not."— 7". N. ii. 3. 185,
It follows that as originally meant both our modern so, "in that
way," and our modem as, **in which way." The meaning of so
is still i-etained in the phrases "«j soon as" and "I thought as
much," &c., but generally as has its second meaning, viz. " in
which way."
107. As, like "an" {102), appears to be (though it is not) used
by Shakespeare for as if. As above (102), the " if" is implied in
the subjunctive.
"To throw away the dearest thing he owed
As 'twere a careless trifle." — Macb. i. 4. 11. So v. 5. 13.
i.e. "z« the way in which (he would throw it away) were it a
careless trifle." Often the subjunctive is not represented by any
inflection :
" One cried, * God bless us,' and * Amen' the other,
As they had seen me with these hangman's hands."
Macbeth, ii. 2. 28 ; Rich. III. iii. 5. 63.
Sometimes the as is not followed by a finite verb :
"As gentle and as jocund as (if I were going) to jest,
Go I to fight."— /e^V/^. //. i. 3. 95.
108. As, like "who," "whom," "which" (see below, Relative),
is occasionally followed by the supplementary " that."
" Who fair him 'quited as that courteous was."
Spens. F. Q.\. \. SO.
109. As for "that" after "so." ("In which way;" "As the
result of which.") This is a consequence of the original connection
of as with "so."
"You shall be so received
A r you shall deem yourself lodged in mv heart. "
' L. L. L. ii. I. 174.
" Catesby . . . finds the testy gentleman so hot
As he will lose his head ere give consent. "
Rich. III. iii 4. 41.
CONJUNCTIONS, 77
After "w^;" \
** Yet such deceit as thou that dost beguile
Art juster far." — Sonn.
This occurs less commonly without the antecedent so :
'* My lord, I warra'nt you we'll play our part
As he shall think by our true diligence
He is no less than what we say he is." — T.of Sh. Tnd. i, 68.
This points out an important difference between the Elizabethan
and modern uses oi as. We almost always apply it, like "because"
(117), to the past and the present ; Shakespeare often uses it of the
future, in the sense of "according as."
"And, sister, as the winds give benefit
And convoy is assistant, do not sleep.
But let me hear from you." — Hamlet, i. 3. 2.
Here a modem reader would at first naturally suppose as to mean
"since" or "because;" but the context shows that it means
"according iz J."
110. As, in its demonstrative meaning of so, is occasionally found
parenthetically = "for j^."
" This Jacob from our holy Abraham was
{As* his wise mother wrought in his behalf)
The third possessor." — M. of V. i. 3, 73.
' ' Who dares receive it other —
As we shall make our griefs and clamours roar
Upon his death?" — Alacb. i. 7. 78.
i.e. *^ so did his mother work ;" " so will we make our griefs roar."
" The fixure of her eye has motion in 't.
As we are mock'd with art." — IV. T. v. 3. 63.
There seems some confusion in the difficult passage
"Speak truly, on thy knighthood and thy oath,
As so defend thee heaven and thy valour. "
Rich. 11. i. 3. 15.
In the similar line 34 as is omitted. This would lead us to con-
jecture "and." But perhaps the marshal was beginning to say
"speak truly oi may heaven defend thee," but diverged into the
more ordinary "so," which was the customary mode of invocation.
In that case the meaning will be "aj- thou \7ouldst desire the
fulfilment of thy prayer, *so help me heaven.' "
Comp. oiov sfapTi'-erai Tfci^ov Tajuer^. — TEscu. Prom. I'itict. ooS.
78 SHAKESPEARIAN GRAMMAR.
So in
** Dnke. If this be so {as, yet, the glass seems true)
I shall have share in this most happy wreck. "
T. N. V. I. 272.
The Duke has called the appearance of* the twins ** a natural per-
spective that is and is not" {ib. 224), i.e. a glass that produces an
optical delusion of two persons instead of one. He now says : "if
they are two, brother and sister {and indeed, spite of my incredulity,
the perspective or glass seems to be no delusion), then I shall," &c.
The curious introduction of the "wreck" suggests that the ^/aj^
called up the thought of the "pilot's glass." {M. for M. ii. i. 168.)
An ellipsis must be supplied in
** Had I but time (which I have not) — as this fell sergeant,
Death,
Is strict in his arrest." — Hamlet, v. 2. 347.
111. As = "as regards which," "though," "for," was some-
times used parenthetically in a sense oscillating between the relative
"which," "as regards which," and the conjunction "for,"
" though," "since." It is used as a relative in
" But say or he or we, {as neither have [pi. see I2, Neither],)
Received that sum." — L. L. L. ii. i. 133.
As is used in a transitional manner for "as regards which" or
" for indeed," in
"Though I die for it, as no less is threatened me."
Lear, iii. 3. 19.
" When I was young, as, yet, I am not old."
I Hen. VI. 3. 4. 17.
" If you will patch a quarrel
As matter whole you've not to make it with. "
A. and C. ii. ii. 53.
Here in the second example, " When I Avas young as I yet, or
still, am," would have retained the relatival signification oi as, but
the addition of "not old" obliges us to give to as the meaning not
of "which," but "as regards which" or "for." So in
" She dying, as it must be so maintained."
M. Ado, iv. I. 218.
112. As, owing to its relatival signification, is sometimes loosely
used for "which." This is still usual with us, but rarely except
when preceded by " such " or " the same."
CONJUNCTIONS. 79
*' Thai gentleness as I was wont to have." — J C. i 2. 33.
" Under these hard conditions as this time
Is like to lay upon us." — J. C. i. 2. 174,
This is still common in provincial language. See 280.
As is used for "where " in
*' Here as I point my sword the sun arises." — J. C. ii. I. 106.
113. As is frequently used (without szich) to signify "namely :"
" And that which should accompany old age,
yi J honour, love, obedience, troops of friends."
Alacb. V. 3. 25.
** Tired with all these for restful death I cry.
As to behold desert a beggar bom
And -needy nothing trimm'd in jollity
And, &c." — Sonn. 66,
So C. ofE. i. 2. 98 ; Hen. VIII. iv. i. 88 ; J/. ^/ K iii. 2. 109.
"Two Cliffords, as the father and the son."
3 Hen. VL v. 7. 7.
So ^. K Z. ii. I. 6 ; Rich. II. ii. i. 18 ; and Hafniet, \. i. 117,
where however a line has probably dropped out between 116
and 117.
114. As is apparently used redundantly with definitions of time
(as ws is used in Greek with respect to motion). It is said by
Halliwell to be an Eastern Counties' phrase :
"This is my birth-day, as this very day
Was Cassius born."— y. C. \. i. 72.
"One Lucio as then the messenger." — M. for M. v. I. 74.
The as in the first example may be intended to qualify the state-
ment that Cassius was born on "this very day," which is not
literally true, as meaning " au I may say." Here, and in our Collect
for Christmas Day, "aj at this time to be born," as seems appro-
priate to an anniversary. In the second example the meaning of
"flj- then" is not so clear ; perhaps it means ^^ as far as regards that
occasion, " Compare
"Yet God at last
To Satan, first in sin, his doom applied.
Though in mysterious terms, judg'd as then best."
Milton, V^. L. x. 173.
where "aj then" seems to mean "for the present." So "as yet"
means '•^ as far as regards time up to the present time." So in
So SHAKESPEARIAN GRAMMAR.
German ^^ ah dann" means "then," and **als" is applied to other
temporal adverbs.
As in E. E. was often prefixed to dates :
'Mj in the year of grace," &c.
*^ As now" is often used in Chaucer and earlier writers for **'as
regards now," "for the present :"
*' But al that thing I must as now forbere."
Chauc. Knightis Tale, 27.
In ** Meantime T writ to Romeo
That he should hither come as this dire night,"
R. and J. V. 3. 247.
as perhaps means ^^ as (he did come)."
115. As was used almost but not quite redundantly after "seem"
(as it is still, after "regard," "represent") :
" To prey on nothing that doth seem as dead."
A. Y. L. iv. 3. 119.
and even after "am:"
" I am but as a guiltless messenger." — A. Y. L. iv. 3. 12.
" I am here m the character of" &c.
As is also used nearly redundantly before participles to denote
a cause, " inasmuch as :"
" If he be now return'd
As checking at his voyage." — Havilct, iv. 7. 63.
116. As, like "that" (see 287), is used as a conjunctional suffix:
sometimes being superfluously added to words that are already con-
junctions. In the case of "when as," "where as," it may be
explained from a desire to give a relative meaning to words interro-
gative by nature :
" (I am) one that was a woeful looker-on
When as the noble duke of York was slain."
3 Hen. VI. ii. I. 46 ; i. 2. 75.
So " Where^j."— 2 Hen. VI. i. 2. 58, for "where."
117. Because ("for this reason that") refers to the/«/«r^ instcjul
cf, as with us, to the past, in
" The splitting rocks cower'd in the sinking sands
And would not dash me with their rugged sides,
Because thy flinty heart, more hard than they,
Might in thy palace perish (act. 291), Margaret."
a Hen. VI.. iii. 2. 100.
CONJUNCTIONS. 8i
i.e. •*/■« order that thy flinty heart might have the privilege of
deotioying me,"
118. But (E. E. and modem northern EngHsh "bout") is in
Old Saxon *'bi-utan," where **bi" is our modem "by," and
"utan" means "without." Thus but is a contraction for "by-out,"
and is formed exactly like "with-out." Hence but means excepted
or excepting. This use of out in compounds may be illustrated by
" outstep (except) the king be miserable." *
" It was full of scorpyones and cocadrilles out-takene in the fore-
said monethes."*
" Alle that y have y grant the, out-take my wyfe." *
The two latter passages illustrate the difficulty of determining
whether but is used as a passive participle with nominative absolute,
or as an active participle with the objective case. In the same way
we find " excepted " and " except " placed (a) after a noun or pronoun,
apparently as passive participles^ and {b) before, as prepositions
Thus—
{a) " Only you excepted."— M. Ado, i. I. 126.
'*^ic\i^rd except."— Rich. III. v. 3. 242.
Then, on the other hand, —
(b) " Always «:<r<^/<?^ my dear Claudio. " — M. Ado, iiL i. 93.
" ^j:^^^ immortal Caesar." — y. C. i. 2. 60.
(For the confusion between "except" and "excepted" compare
"deject" for "dejected," &c. See below, 342.)
The absence of inflections, however, in the above instances leaves
us uncertain whether "except" is a preposition or participle. But
"save" seems to be used for "saved" and "he" to be the
nominative absolute in
"All the conspirators save only he." + — J. C. v, 5. 69.
So *' Save \\iOM.^' — Somt. icx).
"Nor never none
Shall mistress be of it save I alone." — T. N. iii. i. 172.
"What stays had I but ihey."— Rich. IIL ii. 2. 76, iv. 4. 34 ;
Cymb. ii. 3. 153; Macbeth, iii. 1. 54 ; R. and J. i. 2. 14.
On the other hand, Shakespeare does not agree with modem uscge
in the inflections of the pronouns (see 206 — 216).
• H^ilHweirs Dictionary.
t^ Similarly "sauf " was used in French in agreement with m noun placed in
the nominative absolute.
82 SHAKESPEARIAN GRAMMAR.
119. But is almost always used in Layamon for "unle^fs" or
"without" (prep.), or ** without" (adv.) in the sense of "outside."
Thus (i. 159): "that a queen should be king in this land and
their sons be buteft,^'' (1. t. boute), i.e. ^^ without (the land)."
So (i. 215) "buten laeve,"i.e. ^^ without \e?iVQj^ It occurs adversa-
tively in (i. 353) a passage which illustrates the transition, " If thou
wilt receive his reconciliation, it will be well; but, he will never
deliver Evelin to thee." Here but is the preposition "without,"
used adverbially as "otherwise."
120. But, in all its uses, may be explained from the meaning of
"out-take" or except. It is sometimes used (like and, see above) to
except or "out-take" a whole clause, the verb being occasionally in
the subjunctive.
"And, but thou love me, let them find me here."
R. andj. ii, 2. 76.
i.e. *^ except or without thou love me."
"And, but I be deceived, Signior Baptista may remember
me."— r. ofSh. iv. 2. 2.
Compare i Hen. VI. iii. i. 34 : ^^ Except I be provoked."
So "Not without the prince be willing." — M. Ado, iii. 3. 86.
We now use "unless" in this sense, and by a comparison of
Wickliflfe with Tyndale and Cranmer it will be seen that but was
already often superseded by "except."
But with the subjunctive is, however, more common in Early than
in Elizabethan English. Sometimes without the subjunctive —
"And, but she spoke it dying, I would not
Believe her lips. " — Cymb. v. 5. 41.
" And, but he's something stain'd
With grief that's beauty's canker, thou might'st call him
A goodly person." — Tempest^ i. 2. 414.
" The common executioner
Falls not the axe upon the humbled neck
But first begs pardon. " — A. V. L. iii. 5. 6.
** And, but infirmity hath something seized
His wish'd ability, he had himself
The lands and waters 'twixt your throne and his
Measured, to look upon you." — W. T. v. I. 141.
121. But. Transition of meaning. These last passage^
Illustrate the transition of but from except to "on the contrary,"
CONJUNCTIONS. 83
** by way of prei ention." The transition is natural, inasmuch as
an exception may well be .called contrary to the rule. The first
passage is a blending of two constructions: "^ she had not spoken
it dying I would not believe," and " I would not believe, but she
spoke it dying." Similarly; ^'■Except infirmity had seized— he had
(would have) measured," and " He had (would have) measured,
but (by way of prevention) infirmity hath seized."
The different usages of ^«/ arise, (i) from its variations between
the meaning of "except," *' unless," and the adversative meaning
"on the other hand;" (2) from the fact that the negative before but,
in the sense of "except," is sometimes omitted and at other times
inserted. Thus *^ but ten came" may mean "ten hozuever came,"
or " (none) but ten, i.e. 07tly ten, came." But is now much more
confined than it was, to its adversative meaning. We still say "it
never rains but it pours " (where the subject is the same before and
after but) ; and, even where a new subject is introduced, we might
say, " I did not know but you had come," " You shall not persuade
me but you knew," &c. ; but this use is colloquial, and limited to a
few common verbs. We should scarcely write
" I never saw but Humphrey duke of Gloucester
Did bear him like a noble gentleman." — 2 Hen. VI. i. 1.183.
122. "But" signifying prevention. The following passages
illustrate the "preventive" meaning of but:
" Have you no countermand for Claudio yet
But he must die to-morrow?" — M. for M. iv. 2. 95.
ue. "to prevent that he must die." If "but" were the ordinary
adversative, it would be " but must he die?"
" That song to-night
W^ill not go from my mind : I have much to do
But (to prevent myself) to go hang my head all at one side
And sing it, like poor Barbara. " — Othello, iv. 3. 32.
" Have you no wit, manners, nor honesty but to gabble like
tinkers at this time of night?"— 7". N. ii. 3. 95.
i.e. "to prevent you from gabbling," or, as Shakespeare could
write, "to gabble." See 349.
After verbs of "denying" and "doubting" which convey a
DOtion of hindrance, but is often thus used :
" I doubt not but to ride as fast as York." — Rich. II. ii. 5. 2.
** I have no doubt (/.^. fear) about being prevented from riding '
G 2
84 SHAKESPEARIAN GKAMMAR,
So I Hen. IV. ii. 2. 14 :
*' It must not be denied but I am a plain dealing villain."
M. Ado, i. 3. 32.
" There must be no denial to prevent my being supposed a plain -
dealing villain." In the last passage, however, but is used transi-
tionally, almost as an adversative. Compare
"It cannot be but I am pigeon-livered, " — Hamlet^ ii. 2. 605,
which approximates to "It cannot be (that I am otherwise than a
coward)," i.e. "it cannot be that I am courageous ; on the contrary
(biit adversative), I am pigeon-liver'd. "
The variable nature of btit is illustrated by the fact that "believe
not but," and "doubt not but," are used in the same signification :
" We doubt not but every rub is smoothed." — Hen. V. ii. 2. 187.
i.e. "we have no doubt of a nature to prevent our believing that,"
&c. So Rich. II. V. 2. 115. But, on the other hand,
" I'll not believe but they ascend the sky." — Rich. III. i. 3. 287.
i.e. "I'll not believe anything except (or 'otherwise than ') that they
ascend. "
In the first of these passages but is semi-adversative.
" She is not so divine
But with as humble lowliness of mind
She is content to be at your command." — i Hen. VI. v. 5. 18.
I.e. "not so divine as to prevent that she should be content."
" Bttt " and " but tliat " are still thus used.
123. But (in phrases like " there is no man but hates me," where
a subject immediately precedes btit) often expels the subject from
the following relative clause. This perhaps arose in part from a
reluctance to repeat a subject which was already emphatically ex-
pressed. See 244. For the same reason the relative is omitted in
such expressions as
" There is no creature loves me." — Rich. III. v. 3. 200.
In such cases we still sometimes omit the subject, but perhaps not
often where but is separated from the preceding subject, as in
" There is no vice so simple but assumes
Some mark of virtue in its outward parts."
M. of V, iii. 2. 81.
Oa the other hand, this omission is not found in the earliest stages
CONJUNCTIONS. 85
of fhe language (Miitzner, iii. p. 469), and thus we find the subject
frequently retained in Shakespeare :
" I found no man but he was true to me." — J. C. v. 5. 35.
** There's ne'er a villain dwelling in all Denmark
But he's an arrant knave." — Hamlet, i. 5. 124.
Less frequently but expels the object in the relative clause :
'* No jocund health that Denmark drinks to-day
But the great cannon to the clouds shall tell. "
Hamlet, i. 2. 126.
124. But meaning except may apply to an expressed contingency,
as (1)
** God defend but I should still be so."— i Hen. IV. iv. 3. 38.
i.e. " God forbid everything except (I should, &c.) "
" But being charged we will be still by land."
A. and C. iv. II. 1.
Le. *^ Excepting ih^ supposition of our being charged."
(2) Sometimes the contingency is merely implied.
" I should sin
To think but {except I should think) nobly of my grandmother."
Temp. i. 2. 119.
"Her head's declined and death will seize her, but
Your comfort makes her rescue." — A. and C. iii. ii. 48.
i.e. "<?«/>' your comfort."
The last passage illustrates the connection between hut meaning
only, and but used adversatively.
125. But thus varying between an adversative and an exceptional
force causes many ambiguities. Thus :
* Whenever Buckingham doth turn his hate
On you and yours, but with all duteous love
Doth cherish you and yours, God punish me. "
Rich. III. ii. I. 33.
Here but means "without," or "instead of, cherishing you."
" You salute not at the court but you kiss your hands."
A. V. L. iii. 2. 50.
i.e. "without kissing your hands."
126. But is not adversative, but means "if not," after "bcshrew
mo," &c. :
86 SHAKESPEARIAN GRAMMAR,
" Beshrew my soul but I do love," hz.—K. J. v. 4. 50.
So 3 Hm. VI. i. 4. 150.
** The Gods rebuke me but it is tidings
To wash the eyes of kings." — A. -and C v. i. 27;zA v. ii, 103.
Thus we explain :
** I'll plead for you myself btct you shall have him."
T. ofSh. ii. I. 15.
i.e. "I'll plead for you myself ^you shall not have him otherwise ;*'
but it must be admitted that the above construction may be confused
with " I may have to plead for you myself, but (adversative) in any
case you shall have him." So
**I should woo hard but be your groom," — Cynib. iii. 6. 70.
is, perhaps, a confusion between ** if \ could not be your groom
otherwise" and ^^ butm any case I would be your groom." In the
last example, however, it is possible that there is an additional con-"
fusion arising from the phrase : "It would go hard with me but."
127. But in the sense of except frequently follows negative
comparatives, where we should use thafi.
•*A^ w^<?<5«/ instruments." — M.for M. v. i. 237.
Here two constructions are blended, " Nothing except instruments "
and '*i7;//j/ instruments; no more.'''' So —
" No more dreadfully btit as a drunken sleep. '
M.forM. iv. 2. 150.
*' The which no sooner had his prowess confirm'd.
But like a man he died." — Macbeth, v. 8. 42.
" I think it be no other but even so." — Hamlet, i. I, 108.
'' No more but \\i2X.'''' — A. W. iii. 7. 30.
** With no worse nor better guard but with a knave."
Othello, i. I. 12-3.
"Thou knowest no less but all." — 7! N. i. 4. 13.
Sometimes but follows an adjective qualified by the negative
with "so."
"Not so dull but she can learn." — AJ. of V. iii. 2. 164.
So Chaucer :
"I «am ^«/dede," — Knight/ s Tale.
Inhere, omitting the negative «, we should say " 1 am but dead."
CONJUNCTIONS. 87
128. But passes naturally from " except " to " only," when the
negative is omitted. ("No-but" or "nobbut" is still used pro*
vincially for "only.") Thus :
"Nomore/^w/ that,"— ^. W. iii. 7. 30.
becomes " but that."
** Glouc. What, and wouldst climb a tree i
Simple. But that in all my life."— 2 Hen. VI. ii. I. 99.
i.e. "no more but that one tree," or " only that one tree."
** Cleo. Antony will be himself.
Ant. But stirr'd by Cleopatra." — A. and C. \. I. 43.
i.e. "not except stirr'd," "only if stirr'd."
^^ But sea-room, and {ifYo\.) the brine and billow kiss the
moon, 1 care not." — P. of T. iii. I. 45.
" Where Brutus may but find it." — J. C. i.' 3. 144.
i.e. "Where Brutus can (do nothing) but find it," i.e., as we say,
"cannot but find it" Possibly, however, but (see 129) may be
transposed, and the meaning may be "Brutus only," i.^. "Brutus
alone may find it."
" He that shall speak for her is afar off guilty
But that he speaks."— «^. T. ii. i. 105.
i.e. ** simply in that he speaks," ".merely for speaking."
The effect of the negative on but is illustrated by
" But on this day let seamen fear no wreck." — K. y. iii. i. 92.
Here, at first, but might seem to mean "only," but the subsequent
negative gives it the force of " except."
But perhaps means " only " in
"He boasts himself
To have a worthy feeding : but I have it
Upon his own report, and I believe it." — W. T. iv. 4. 169.
#.«p. "I have it t?ierely on his own report, and I believe it too."
There is, perhaps, a studied ambiguity in the reply of Hamlet :
" Guild. What should we say, my lord ?
Hamlet. Anything but to the purpose." — Hamlet, ii. 2. 287.
The ellipsis of the negative explains "neither" in the following
difficult passage :
"To divide him inventorily would dizzy the authentic of memory
and yet but yaw neither [i.e. do nothing but lag clumsily behind
neither) in respect of his quick sail." — Hamlet, v. 2. 120.
«8 SHAKESPEARIAN GRAMMAR.
"Neither" for our "either" is in Shakespeare's manner, aftei
a negative expressed or implied.
But means " setting aside" in
"What would my lord, but that (which) he may not have,
Wherein Olivia may seem serviceable." — T. N. v. i. lO-i.
Such instances as this, where but follows not a negative but a
superlative, are rare :
''Pistol.
this realm.
Silent. By're lady, I think 'a be, but goodman Puff of Barson. "
2 Hen. IV. v. 3. 93.
But seems used for " but now" in
"No wink, sir, all this night,
Nor yesterday : but {but now) slumbers." — B, J. Fox, i. I.
1£9. But (like excepted and except) varies in its position. Simi-
larly "only" varies with us: we can say either "one only''^ or
" only one."
"This very morning but.''* — B. J. Sad Sh. ii. 2.
i.e. " only this morning."
" Where ^;Z(f <5«/ goes abreast. " — Tr. and Cr. iii. 3. 155.
for " but one" or " one only.*^
'* But in these fields of late." — Tr. and Cr. iii. 3. 188.
for *' but oi late."
" A summer's day will seem an hour but short." — V. and A.
" Betwixt them both biit was a little stride."
Spens. F. Q. ii. 7. 24.
" And when you saw his chariot but appear." — J. C. i. \. 48.
i.e. "his chariot merely" or ''but his chariot."
"Your oaths are words and poor conditions but unseal'd."
A. IV. iv. 2. 30.
Le. "merely unsealed agreemeiitc."
130. The same forgetfulness of the original meaning of words
which led to "more better," &c., led alsv^ to the redundant use of
but \n " but only," " merely but,^' " but even," Slc.
" Merely but zxi." — L. C 25.
"He only lived but till he was a man." — Macbeth, v. 8. 40.
C ONJUNCTIONS. » 89
"My lord, your son had only but the corpse."
%Hen. IV. x. I. 192.
'• Even but now " for " but now."
M. of V. V. I. 272; A. Y. L. d. 7. S.
** Btct a very prey to woe." — Rich. III. iv. 4. 106.
"Augustus,
In the bestowing of his daughter, thought
But even of gentlemen of Rome." — B. J. Sejan. iii. 2.
Probably like '■'■merely but.''*
So *' Even just. "—^«. V. ii. 3. 12,
** But now," like "even now" (38), is capable of different mean-
ings : "a moment ago" and "at the present moment."
" But now I was the lord
Of this fair mansion, and even now, but now
This house, these servants, and this same myself
Are yours."— J/. ^F. iii. 2. 171.
For. See 151.
131. Or (before). Or in this sense is a corruption of A.-S. ar
(Eng. ere)f which is found in Early English in the forms er^ air,
ar, ear, or, eror.
" Or (before) he have construed." — AscH. 95.
As this meaning of or died out, it seems to have been combined
with ere for the sake of emphasis. Thus :
" Dying or ere they sicken." — Macbeth, iv. 3. 173 ;
K. J. V. 6. 4-1 ; Temp. v. I. 103.
We find in E. E. "erst er," "bifore er," "before or" (Matzner,
iii. 451).
Another explanation might be given. Ere has been conjectured
to be a corruption of e'er, ever, and "or ever" an emphatic form
like "whenever," "wherever." "Ever" is written "ere" in
Sonn. 93, 133. And compare " Or ever your pots be made hot 'm.'Ca
thorns." — Ps. Iviii.
Against the latter explanation is the fact that "ever" is much
more common than "ere." It is much more likely that "ever"
should be substituted for "ere" than "ere" for "ever." For
Or . . . or, see 136.
90 SJMKESPEARIAN GRAMMAR.
132. Since* seems used for rvhen in —
" Beseech you, sir,
Remember since you OM-ed no more to time
Than I do now."— W^. T. v. i. 219.
*' Remember the time past when you," &c.
*• We know the time since he was mild and affable."
2 Hen. VI. i'i. i. 9.
"Thou rememberest
Since once I sat upon a promontory." — M. N. D. ii. i. 149.
"This fellow 1 remember
Since once he play'd a farmer's eldest son. "
r. ofSh. Ind. i. 84.
So 2 Hen. IV. iii. 2. 206.
This meani:ig of since arises from the omission of "it is" in such
phrases as "it is long since I saw you," when condensed into "long
nnce, I saw you." Thus since acquires the meaning of "ago," "in
past time," adverbially, and hence is used conjunctively for "when,
long ago."
^nce (like the adverb) is found connected with a simple present
where we use the complete present (so in Latin) :
" Since the youth of the count was to-day with my lady, she is
much out of quiet." — T. N. ii. 3. 144.
More remarkable is the use of the simple past for the complete
present :
" I was not angry since I came to France
Until this instant." — Hen. V. iv. 7. 58.
Note "Whip him . . .
So saucy with the hand of she here, — what's her name?
Si7ice she was Cleopatra." — A. and C. iii. 13. 99.
Peril aps the meaning is " Whip him for being saucy with tills
woman, since (though she is not now worthy of the name) she
once tuaj> (emphatical) Cleopatra." Else "What is her new name
since she ceased to be Cleopatra ?" If since^ in the sense of " ago,"
could be used absolutely for " once," a third interpretation would
be possible : " What's her name ? O^zr^ she was Cleopatra. "
* The old form sith occurs several times in Shakespeare, and mostly in the
metaphorical meaning "because." Sith in Hamlet, ii. 2. 12, is an exception.
Sith in A.-S. meant "late," "later;" " sith-thnn," "after that." Sitheiic*
(Ckiucer, "sethens," "sins") is found twice in Shakespeare.
CONJUNCTIONS. 91
133. So is used with the future and the subjunctive to denote
"provided that."
'* I am content so thou wilt have it so."— i'?. and J. iii. 5, 18.
** So it be new, there's no respect how vile." — Rich. II. ii. i. 25.
So seems to mean **in this way," "on these terms," and the fiilJ
construction is "be it (if it be) so that." " Be it" is inserted in
" Be it so (that) she will noL ' -M. N. D. i. i. 39.
'* That" is inserted in Chaucer, Piers PlottgJwian, &c.
"(Be it) So that ye be not wrath."— Chaucer, C. T. 7830.
means " provided you will not be angry." So
" Poor queen ! So that thy state might be no worse
I would my skill were subject to thy curse."
Rich. II iii. 4. 102.
So, thus meaning "on condition that," is sometimes used where
the context implies the addition of "even."
" Messenger. Should I lie, madam?
Cleopatra. O, I would thou didst
So (even if) half my Egypt were submerged." — A. and C. ii. 5. 94
Sometimes the subjunctive inflection is neglected and "j^ as" u
used for **so that."
** So as thou livest in peace, die free from strife."
Rich. II V. 5. 27.
We must distinguish the conditional "jt? heaven help me" from
the optative "so defend thee heaven" {Rich. II. i. 3. 34), where the
order of the words indicates that " be it . . . that" cannot be under-
stood. Here so means " on the condition of my speaking the truth, "
and is not connected with defend. Compare Rich. III. ii. i. 11, 16.
See also 275-283.
That. See Relative.
That omitted before the subjunctive. See 311.
134. Where is frequently used metaphorically as we now use
whereas.
" It (the belly) did remain
I' the midst o' the body idle and unactive
where the other instruments
Did see and hear, devise," &c. — Coriol. i. i. 102.
for " whereas the other instruments did," &c. Comp. Coriol. i. 10. 13,
So Lear, i. 2. 89 ; Rich. II iii. 2. 185.
92 SHAKESPEARIAN GRAMMAR.
135. Whereas, on the other hand, is used for where in
" Unto St. Alban's
Whereas the king and queen do mean to hawk. "
2 Hen. VI. i. 2. 58.
** They back returned to the princely place ;
Whereas . . . a knight . . . they new arrived find,"
Spens. F. Q. i. 4. 38.
So *' where-that.'^ — Hen. V. v. Prologue, 17. Probably both "as''
and "that" were added to give a relative meaning to the (originally)
interrogative adverb where. See 287.
136. Whether is sometimes used after "or" where we should
omit one of the two :
" Or whether doth my mind, being crown'd with you,
Drink up the monarch's plague, this flattery ?
Or whether shall I say mine eye saith true," &c. — Sonn. 1 14.
" Move those eyes?
Or zuhether riding on the balls of mine
Seem they in motion ?" — AI. of V. iii. 2. 18.
' ' Or whether his fall enraged him, or how it was. "
Coriol. i. 3. 69.
The first example is perhaps analogous to the use of " or . . . or,"
as in
" Why the law Salique which they have in France
Or should or should not bar us in our claim. "
Hen. V. i. 2. 12 ; T. N. iv. i. 65.
There is, perhaps, a disposition to revert to the old idiom in
which the two particles were similar: "other. . , other." (The
contraction of "other" into "or" is illustrated by "whe'r" fui
"whether" inO. E. and the Elizabethan dramatists.) Perhaps, also,
additional emphasis is sought by combining two particles. We
find ^^ whether . . . or whether V^ to express direct questions in
A.nglo-Saxon. In the second example a previous "whether" is
implied in the words "move those eyes?"
137. While (originally a noim meaning "time"). Hence
*'■ a.-while" "(for) a time:" "the while^' "(i^i) the (mean) time;"
" whit-om " ( " om " being a dative plural inflexion used adverbially),
"at a (former) time;" "whi/e-ere" {Temp. iii. 2. 127), "a time
before," i.e. " formerly."
So whiles (genitive of zvhi/e) means "of, or during, the time."
PREPOSITIONS. 95
The earliest use of while is still retained in the modem phrase " all
the while that he was speaking." "The while that," from a very
early period, is used in the condensed form "the 7uhile," or ^* uhile
that" or while; and whiles was similarly used as a conjunc-
tion.
While now means only "during the time when," but in Eliza-
bethan English both while and whiles meant also "up to the time
when." (Compare a similar useof "dum"in Latin and cws in
Greek.)
** "We will keep ourself
Till supper-time alone. While (till) then, God be with you."
Machethy iii. I. 43.
"I'll trust you while your father's dead."
Massinger (Nares).
" He shall conceal it
Whiles you are willing it shall come to note." — T. N. iv. 3. 28.
" Let the trumpets sound
While we return these dukes what we decree,
\A long fiourish.
Draw near, &c."— i^.r/i. //. i. 3. 122.
PREPOSITIONS.
138. Prepositions priniarily represent local relations; secondarily
and metaphorically, agency, cause, &c. A preposition (as after, see
below) may be used metaphorically in one age and literally in the
next, or vice vers A. This gives rise to many changes in the meaning
o\ prepositions.
The shades of different meaning which suggest the use of different
prepositions are sometimes almost indistinguishable.
We say, "a canal is full of water." There is no reason why we
should not also say "full with water," as a garden is "fair with
flowers." Again, "a canal is filled with water," the verb in modem
English preferring with to signify instrumentality, but "filled oj
water " is conceivable ; and, as a matter of fact, Shakespeare does
write ** furnished of provided of supplied of'' for zuith. Lastly the
water may be regarded as an agent, and then we say, " the canal is
filleil by the water." But an action may be legarded as "^" the
agent, as well as "^j)" the agent, an.i "^"" is frequently thus used
ill the A. V. of the Bible and m Jtr'UzabethAii authors, as well as
94 SHAKESPEARIAN GRAMMAR,
in E. E. For these reasons the use of prepositions, depending
upon the fashion of metaphor in different ages, is very variable.
It would be hard to explain why we still say, "I live on bread,"
but not " Or have we eaten on the insane root ?" {Macb. i. 3, 84) ;
as hard as to explain why we talk of a **high" price or rate,
while Beaumont and Fletcher speak of a ' deeper rate."
139. Prepositions: modern tendency to restrict their
meaning.
One»general rule may be laid down, that the meanings of the pre-
positions are more restricted now than in the Elizabethan authors :
partly because some of the prepositions have been pressed into the
ranks of the conjunctions, e.g. "for," "but," "after;" partly
because, as the language has developed, new prepositional ideas having
sprung up and requiring new prepositional words to express them,
the number of prepositions has increased, while the scope of each has
decreased. Thus many of the meanings of "by" have been divided
among "near," "in accordance with," "by reason of," "owing
to;" "but" has divided some of its provinces among "unless,"
" except ;" " for" has been in many cases supplanted by " because
of," "as regards ;" " in" by " during."
140. A. Ben Jonson in his Grammar, p. 785, writes thus : —
** A hath also the force of governing before a noun — ' And the Pro-
tector had layd to her for manner's sake that she was a council
with the Lord Hastings to destroy him,' — Sir T. More,"
" Forty and six years was this temple a building."
St. John ii. 20.
The present text is in, but Cranmer and Tyndalehad "a."
This a, which still exists in alive, afoot, asleep, &c. is a contrac-
tion of A. -S. on or the less common form an. We find in Early
English "on live/' "on foot," "on hunting," "on sleep;" "rt
morrow and eke an eve," for " by morning and also by evening ; "
*^ a land and a water," Piers PL (where some MSS, have en),
" a (for in) God's name," " an end " for " on the (at the) end."
In the Folio we sometimes find a where we write o' :
" What is 't a clocke V'—Rich. HI. v. 3. 47.
See Adverbs, 24 ^
PREPOSITIONS. 9S
141. After ("following," Latin "secundum," hence "according
to").
"Say, you chose him,
More after our commandment than as guided
By your own true affections." — Coriol. ii. 3. 238.
'After my seeming." — 2 Heit. IV. v. 2. 128.
Compare "Neither reward us after our iniquities," in our Prayer-
book.
^y?^-is now used only of space or time, except in " after the pattern,
example, &c.," where the sense requires the metaphorical meaning.
142. Against used metaphorically to express time. This is now
restricted to colloquial language :
"I'll charm his eyes against he do appear." — M. N. D. iii. 2. 99.
i e. ''against the time that he do appear." Any preposition, as
"for," "in," can thus be converted into a conjunction by affixing
" that," and the " that" is frequently omitted.
" Against (the time that) my love shall be as I am now." — Sonn. 63.
"'Gainst that season comes." — Hamlet, i. I. 158.
" As against the doom." — lb. iii. 4. 50.
i.e. "as though expecting doom's-day."
143. At. The use of a mentioned in 140 was becoming unin-
telligil)!e and vulgar in Shakespeare's time, and he generally uses ai
instead. The article is generally omitted in the following and
eimilar adverbial forms.
" All greeting that a king at friend can send his brother."
VV. T. V. I. 140.
" The wind a/ /z^/^. " — Hamlet, iv. 3. 46.
" At j//^r^."— Montaigne. " At door."— ^ T. iv. 4. 352.
"(A ship) that lay at rode.'' — N. P. 177.
" As true a dog as ever fought at head.'' — T. A. v. I. 102.
" Bring me but out at gate!' — Coriol. iv. I. 47.
"" At point." — Coriol. v. 4. 64; Cymb. iii. 6. 17.
But " When they were fallen at a point for rendering up the hold."
HOLINSHED, Duncane,
The at of pi'ice generally requires an adjective or article, as w^eli
as a uoun, after it, except in "a/ all." We have, however,
" If my love thou hold'st at at(ght," — Hamlet, iv. 3. 60,
i.e. "at a whii "
96 SHAKESPEARIAN GRAMMAR.
In Early English at does not seem to have been thus extensively
used. It then was mostly used (Stratmann) in the sense of " at the
hands of" {itp6s with gen.) : "I ask at, take leave at, learn a/ a
person," &c.
At is used like "near" with a verb of motion where we should
use "up to :"■
** I will delve one yard below their mines,
And blow them at the moon. " — Hai7ilet, iii. 4. 209.
In "Follow him at foot,"— /<5. iv. 3. 56.
at is not "on" but "near," as in "a/ his heels."
144. At, when thus used in adverbial expressions, now rejects
adjectives and genitives as interfering with adverbial brevity. Thus
we can say " at freedom," but not
*' At /iouest freGdom." — Cymb. iii, 3, 71.
"At ample view." — T. N. i. i. 27.
" At a mournful war." — Sonn. 46.
''At heart's e3.5Q."—y. C. i. 2. 207.
We say ''at loose," but not
" Time . . . often at his very loose decides
That which long process could not arbitrate," — L. L. L. v. 2. 752.
where "loose" means "loosing" or "parting,"
So we say " aside," but not
"To hang my head all at one side." — Othello, iv. 3. 22.
We say "at the word," but, with the indefinite article, "in a
^ord," not
"No, at a word, madam." — Coriol. i, 3, 122.
It is, perhaps, on account of this frequent use of at in terse
adverbial phrases that it prefers monosyllables to dissyllables. Thus
we have "at night" and "at noon," and sometimes "at eve" and
"at mc>vn," but rarely "at evening" or "at morning," except
where "at morning" is conjoined with "at night," as in
"At morning and at night," — M. of V. iii, 2, 279.
London was not so large as it now is when Shakespeare wrote
"Inquire at London," — Rich. II. v. 3, 51.
145. By (original meaning "near"). Hence our "to come by
a thing," i.e. "to come near" or "attain."
" (How) cam'st thou by this ill tidings V'—Rich. II. iii. 4. 8a
"I'll corned U..e. acquire) Naples." — Temp. ii. i. 292,
PREPOSITIONS, 97
By is used in a manner approaching its original meaning in
"Fed his flocks
By (on) the fat plains of fmitful Thessaly. "
B. and F. Fair Sh. i. i.
"At a fair vestal throned by the west." — M. N. D. ii. I. 58.
So Wickliffe: '■'By (on) everi Saboth," ^^/j xiii. 27. Somewhat
similar is our present colloquial * ' by this " of time ; an expression
which is found in
" Of the poor suppliant who bv this I know
Is here attending." — A. W. v. 3. 134; Lear^ iv. 6. 45.
This is illustrated by the play on ''by your favour," where favour
means also "complexion," "face," in
" Duke. Thine eye
Hath stay'd upon some favour thatit loves,
Hath it not, boy ?
Viola. A little, by yoMx favour.^' — 7. A', ii. 4. 26.
Compare also the puns in T. N. iii. I. 2-10.
Hence "about," "concerning."
" How say you by the French lord?" — M. 0/ V. i. 2. 60.
" Tell me, sirrah, but tell me true, I charge you.
By him and by this woman here what know you?"
A. W. V. 3. 237.
" I would not have him know so much by me."
L. L. L. iv. 3. 150.
** I know nothing by myself," i Cor. iv. 4 (no harm about myself).
** Many may be meant by (to refer to) the fool multitude."
M. of V. ii. 9. 25.
Compare B. J, Poetast. v. i :
** Lupus. Is not that eagle meant by Caesar, ha ? . . . .
Ccpsar. Who was it, Lupus, that inform'd you first
This should be meant by us ?"
Hence from near came the meaning like, according to.
" It lies you on to speak
Not by your own instruction, nor by the matter
"Which your own heart prompts you." — Coriol. iii. 2. 53.
"And him by oath they duly honoured" — R. of L. 410.
i.e. " according to their oath."
** Not friended by his wish, to your high person
His will is most malignant." — Hen. VIII. i. 2. 140
i.e. " in accordance with his wish," "to his heart's content.
H
98 SHAKESPEARIAN GRAMMAR.
'* If my brother wrought l^y my pity it should not be so. "
M.forM. iii. 2. 224
"I will believe vou by the syllable
Of what you shall deliver.''— P. of T. y. i. 170.
So, where we say *^to the sound of:"
'* Sound all the lofty instruments of war,
And by that music let us all embrace."
By seems to mean "near," hence "with," in
** (My daughter) hath his solicitings.
As they fell out by time, by means and place,
All given to mine ear." — Hamlet, ii. 2. 127.
Perhaps we may thus explain :
" I'll trust by leisure him that mocks me once." — T. A. i. l. 301.
i.e. "in accordance with, to suit, my leisure."
The use of by in
"The people . . . by numbers swarai to us,"
3 Hen. VI. iv. 2. 2.
is the oame as in
^* By ones, by twos, by threes." — Coriol. il 3. 47.
By, in the sense of "near," like our "about" {Acts xiii. 21,
Wick. *■* by fourti yeeris," the rest "about "), Greek KaTi, was used
from the first in rough distributive measurements in E. E. : " He
smote to the ground by three, by four," ^'' by nine and ten," ^^ by
one and one." So
" I play the torturer by small and small
To lengthen out the worst that must be said."
Rich. IL iii. 2. 189.
i.e. "/« lengthening out ^_y little and little." Hence, perhaps, from
^'' by one by one " sprang our shorier form, " one by one," " little by
little ;" though it is possible that " one by one " means " one next to
or after one."
By is used as a noun in the expression " on the by " (as one
passes by). — B. J. 746.
We still use by as an adverb after "close," "hard," &c, but
we should scarcely say,
" I stole into a neighbour thicket by." — Z. L. L. v. 2. 94.
146. By ("near," "following close after," hence "as a con-
sequence of").
PREPOSITIONS.
9f
'*The bishop of York,
Fell Warwick's brother, and, by that, our foe."
3 Hen. VI iv. 4. 12.
"Lest, by a multitude
The new-heal'd wound of malice should break out."
Rich. III. ii. 2. 124.
" So the remembrance of my former love
Is by a newer object quite forgotten." — R. and J. ii. 4, 194
*' Fear'd by their breed and famous by their birth."
Rich. II ii. I. 52.
Hence sometimes it seems to be (but is not) used instmmen tally
with adjectives which appear to be (but are not) used as passive verbs.
By does not mean "by means of," but "as a consequence of," in
*' An eagle sharp by fast." — V. and A. 55.
" Oh how much more does beauty beauteous seem
By that sweet ornament which truth doth give." — Sonn.
*' laer. Where is my father ?
King. Dead 1
Queen. But not by him."
Hamlet, iv. 5. 128.
147. For (original meaning "before," "in front of"). A man
who stands in front of another in battle may either stand as his friend
for him or as his foe against him. Hence two meanings oi for^
the former the more common.*
148. (I.) For, meaning "in front of," is connected with "instead
of," " in the place of," " as being."
" Ox for the lawrell he may gain a scome."
B. J. on Shakespeare
i.e. "instead of the laurel."
" See what now thou art.
For happy wife, a most distressed widow,
For joyful mother, one that wails the name.
For queen, a very caitiff crown'd with care."
Rich. Ill iv. 4. 98.
"Thyself a queen,yi7r me that was a queen." — lb. I 3. 292.
Between this and the following meanings we may place
" Learn now, /^r all." — Cymb. ii. 3. 111.
" This \%fQr zXV— Hamlet, i. 3. 131.
i.e. " once instead of, or in the place of, all."
* Comp. uifTt, which in composition denotes against, and at other times iftitfoa
<(f, Jor.
U.0 SHAKESPEARIAN GRAMMAR.
"I abjure
The taints and blames I laid upon myself
For (as being) strangers to my nature." — Macbeth, iv. 3. 125.
"Conscience ... is turned out of all towns and cities for a
dangerous thing." — Rich. III. i. 4. 146.
*' How often have I sat crown'd with fresh flowers
For summer's queen !" — B. and F. Fair Sh. i. I.
Hence ^r is nearly redundant in
" Let the forfeit
Be nominated yi^r an equal pound." — M. of V. i. 3. 150.
There is a play on the word in
" On went he /^r a search, and away went \for (packed up in a
basket and treated like) old clothes. "—J/. W. of W. iii. 5. 100.
" Three dukes of Somerset three-fold renown'd
For hardy and undoubted champions." — 3 Hen. VI. v. 7. 6.,
(Where probably hardy means Fr, hardi, "bold;" and "un-
doubted" means "not frightened," "doubt" like "fear" being
used for "frighten.")
Perhaps _/^r comes under this head in
" What is \iQfor a fool that betroths himself to unquietness. "
M. Ado, i. 3. 49
i.e. " What is he, as being a fool," It is more inteHigible when the
order is changed: '^ For a fool, what is he," i.e. "considered as a
fool — it being granted that he is a fool — what kind of fool is he?"
So " What is he for a vicar?"— B. J. Sil. Worn. iii. I. med.
So in German "was fiir ein?"
149. For is hence loosely used in the sense " as regards."
" It was young counsel y^r the persons and violent counsel for
the matter."— B. ^.75.
Very commonly thisy^r stands first, before an emphatic subject or
object, which is intended to stand in a prominent and emphatic
position :
" For your desire to know what is between us,
O'er-master it as you may." — Hamlet, i. 5.139; 2. 112.
" Now, for the taking of Sicily, the Athenians did marvellously
covet it." — N. P. 171.
** For your intent,
It is most retrograde to our desires."
HamUt, i. 2. 112 ; Rick. II. v. 3, 137.
PREPOSITIONS, loi
*^ For a certain term," ^^for seven days, a day" (or even **for the
day" where one day is meant), is still customary, but not
** Doom'd for a certain term to walk the night,
kxAfor the day confined to fast in fires." — Hamlet, i. 4. 11.
150. For, from meaning **in front of," came naturally to mean
*'in behalf of," "for the sake of," "because of."
"Yet I must not (kill Banquo openly),
For certain friends that are both his and mine. "
Macbeth, iii. i. 120.
i.e. ^^ because of certain friends."
This use was much more common than with us. "When we refer
to the past we generally use "because of," reserving yc?r for the
future. Compare, on the other hand :
" O be not proud, nor brag not of thy might.
For mastering her that foil'd the God of fight. "
V. and A. 114.
** He gave it out that he must depart _/^r certain news. "
N. P. 179.
" No way to that, for weakness, which she enter'd."
I //en. VI iii. 2. 25.
i.e. " no way can be compared yi>;' weakness with that," &c.
" Of divers humours one must be chiefly predominant, but it is
not with so full an advantage but, /or the volubilitie and supplenes
of the mind, the weaker may by occasion reobtaine the place again. "
— Montaigne, 116.
For is similarly used with an ellipse of " I lay a wager " in
" "Now, /or my life, she's wandering to the Tower."
Pich. Ill iv. I. 3.
151. For, in the sense of "because of," is found not only
governing a noun, but also governing a clause :
" You may not so extenuate his offence
For I have had such faults." — M./or M. ii. I. 28.
Le. " because I have had such faults."
" ('Tis ungrateful) to be thus opposite with heaven.
For (because) it requires the royal debt it lent you."
Rich. Ill il. 2. 95.
So Othello, i. 3. 269; Cymb. iv. 2. 129. And parenthetically very
frequently :
I02 SHAKESPEARIAN GRAMMAR.
" The canker-blossoms have as deep a dye
As the perfumed tincture of the roses,
Buty^r their virtue only is their shew,
They live unwoo'd, and unrespected fade." — Sonn. 54.
"Oh, it is as lawful,
For we would give much, to use violent thefts. "
Tr. and Cr. v. I. 21.
i.e. to rob, ** because we wish to be generous."
With the future, y^r meant "in order that."
" And, for the time shall not seem tedious,
I'll tell thee what befel me."— 3 Hen. VI. iii. i. 10
The desire of clearness and emphasis led to the addition of because.
** Buty^r because it liketh well our eyes." — N. P. Pref.
^^ Kvi^ for because Xh^ world is populous." — Rich. II. v. 5. 3.
Comp. *^ but only, ''^ *^ more better " 8ic.
For, when thus followed by a verb, like after, before, &c. {** after
he came," ^^ before he went"), is called a conjunction. It is often,
like other prepositions (287) thus used, followed by "that."
Coriol. iii. 3. 93, &c. The two uses occur together in the following
passage, which well illustrates the transition oi for :
** I hate himy^r he is a Christian,
But more/^r that ... he lends," &c. — M. of V. i. 3. 43.
152. For to, which is now never joined with the infinitive except
by a vulgarism, was very common in E. E. and A. -S. , and is not
uncommon in the Elizabethan writers. It probably owes its origin
to the fact that the prepositional meaning of "to" was gradually
weakened as it came to be considered nothing but the sign of the
infinitive. Hence for was added to give the notion of motion or
purpose. Similarly in Danish and Swedish (Matzner, ii. p. 54) " for
at " is used. Both in E. E. and in Elizabethan writers the for is
Kometimes added to the latter of two infinitives as being, by a longer
interval, disconnected from the finite verb, and therefore requiring
an additional connecting particle :
" First, honour'd Virgin, to behold thy face
Where all good dwells that is ; nextyi?r to try," &c.
B. and F. Fair Sh. v. l.
For the same reason :
** Let your highness
Lay a more noble thought upon mine honour
Than ^j' to think that I would sink it here." — A. W. v. 3. 181.
PREPOSITIONS. 103
From the earliest period "for to," like "to," is found used
without any notion of purpose, simply as the sign of the infinitive.
So in Shakespeare ;
" Forbid the sea>^ to obey the moon."— ^. T. i. 2. 427.
153. For, variable. The following passage illustrates the
variableness oi for :
" Princes have but their titles /or (to represent) their glories,
An outward honour for (as the reward of) an inward toil.
And /or (for the sake of gaining) unfelt (unsubstantial) imagi-
nation
They often feel a world of restless ca.res."—Pu:A.III. i. 4. 78-80.
154. (11.) For (in opposition to) : hence "to prevent."
" And over that an habergeon yj?r percing of his herte."
Chaucer, Sire Thopas, I3790.
" Love. Is there an officer there?
Off. Yes, two or three /or failing."— B J. Alch. v. 3.
" The which he will not every hour survey
/^tfr blunting the fine point of seldom pleasure." — Sonn. 52.
" We'll have a \i\!o/or spoiling of thy doublet."
B. and F. (Nares).
So it is said of Procrustes, that if his victim was too long for the
bed, "he cut off his legsy^r catching cold." — Euphiies (Malone).
It can be proved that Sir T. North regarded /or as meaning " in
spite of," since he translates " Mais, nonobstant toutes ces raisons,"
by "But, /or all these reasons," (N. P. 172); where the contact
also shows beyond dispute Wvax/or has this meaning. On the other
hand, in
"All out of work and coldy^r action," — Hen. V. i. 2. 114.
/t7r seems to mean "y^r want of," unless "out of work and cold"
can be treated as equivalent to "eager," which would naturally be
followed hy /or.
For is found in E. E. in this sense, but perhaps always with the
emphatic "all."
For in this sense is sometimes used as a conjunction: ^
"For all he be a Roman." — Cymb. v. 4. 209.
i.e. " Despite that he be a Roman."
Fof may either mean " against " or (149) " for what concerns ' in
"I warrant him /<w- drowmng." — Temp, i. i. 47.
I04 siiakesfearjAN grammar.
We slill retain the use oi for in the sense of in spite of, as in*
**;^r <2// your plots I will succeed." Such phrases, however, fre-
quently contain a negative, in which case it is difficult to ascertain
whether for means because of ox in spite of.
" My father is not dead for all your saying."
Macbeth, iv. 2. 36.
** (The stars) will not take their flight
For all the morning light." — MiLTON, Hymn on the Nativity.
It is a question how to punctuate
**To fall off
From their Creator and transgress his will
For one restraint lords of the world besides."
Milton, P, L. i. 32.
If a comma be placed after **will," and not after "restraint," then
"besides" should be treated as though it were "except" or "but:"
" Lords of the world hut for one restraint."
155. For is sometimes ready for, fit for. (See 405.)
" He isy^rno gallants' company without them."
B. J. E. in ^c. i. I.
"Your store is not for idle markets." — T. N. iii. 3. 46.
Compare our " I Q.mfor (going to) Paris."
Some ellipsis, as " I pray," must be understood in
"(I pray) God for his mtxcy."— Rich. II. ii. 2. 98 ; v. 2. 75.
156. Forth is used as a preposition (from) :
" Steal ^/-//i thy father's house."— J/. N. D. i. i. 164.
" Loosed themy^rM their brazen caves."
2 Hen. VI iii. 2. 89, and I Hen. VI. i. 2. 54
Sometimes with "of" or "from :"
" That wash'd his father's fortunes _/i?r//z of France."
3 Hen. VI ii. 2. 157.
So Rich. II iii. 2. 204-5; Temp. v. I. 160. The "of" in itseU
implies motion from. (See 165.)
'■'■YxQWi. forth the streets of Pomfret." — K. J. iv. 2. 148.
So Rich. II ii. I. 106.
Forth, being thus joined with prepositions less emphatic than
itself, gradually assumed a prepositional meaning, displacing the
prepositions. Forth is not found as a preposition in E. E. Se«
also Prepositions omitted.
PREPOSITIONS. 105
157. From is sometimes joined with <?«/, to signify out wax d
motion, where we use out of.
** In purchasing the semblance of my soul
From out the state of hellish cruelty." — M. of V. iii. 4. 20.
'■^ From out the fiery portal of the East." — Rich. II. iii. 3. 64.
158. From is frequently used in the sense of "apart from,"
** away from, " without a verb of motion.
^^ From thence {i.e. away from home) the sauce to meat is
ceremony." — Macbeth, iii. 4. 36.
" I am best pleased to b^from such a deed." — K. J. iv. i. Sfj.
"Which isfrom (out of) my remembrance." — Temp. i. I. ^5.
"They run themselves ^vw breath." — B. J. Cy.^s Rev. i. i.
'■^ClQ^nfrom the purpose." — J. C. i. 3. 35.
" This discourse \s,from the subject." — B. and F. Eld. B. v. i.
"This IS, from my commission." — T. N. i. 5. 208.
"Anything so overdone \s,from the purpose of playing,"
Hamlet, iii. 2. 22.
"This \sfrom the present." — A. and C. ii. 6. 30.
Hence " differently from : "
" Words him a gieat deal />-£>/« the matter." — Cymb. i. 4. 16.
i,e. "describes him in a manner departingy^-^w the truth."
"This label on my bosom whose containing
Is %ofrom sense in hardness." — Cymb. v. 5. 431.
" Wnitfrom it, if you can, in hand and phrase."
T. N. v. I. 340.
"For he is superstitious grown of late
Qm\.Q/rom the main opinion he held once." — J. C. ii. I. 196.
" ^ofrom himself impiety hath wrought." — R. of L.
"To be so odd and/r^w all fashions." — M. Ado, iii. i. 72.
" Particular addition y9'(?;« the bill
That writes them all 2l\\i&:''— Macbeth, iii. I. 100.
This explains the play on the word in
* * Queen. That thou dost love thy daughter/r<?;;z thy soul. "
Rich. in. iv. 4. 258.
" I wifh you all the joy that you can wish,
For I am sure you can wish none from me."
M. of V. iii. 2. 192. /
i.e. "none differently 7^r<7/w me," "none which I do not wnsh you."
This is probably the correct interpretation of the last passage. So
Otkello, i. I. 132. \
io6 SHAKESPEARIAN GRAMMAR.
"If aught possess ^ttfrom me." — C. of E. ii. 2. 180.
Also "apart from :"
** Nay, that's my own from any nymph in the court."
B. J. Cy.'s Rev. ii. I,
*'■ From thee to die were torture more than death,"
2 Hen. VI. iii. 2. 401.
159. In, Hke the kindred preposition on (Chaucer uses " w a hill"
for "on a hill"), was used with verbs of motion as well as rest
We still say " he fell /« love," "his conduct came in question."
" He fell in a kind of familiar friendship with Socrates."
N. P. 192.
" Duncane fell in fained communion with Sueno."
HOLINSHED.
"/« so profound abysm I throw all care." — Sonn. 112.
"Cast yourself ?■« wonder." — J. C. i. 3. 60.
'* Sounds of music creep in our ears." — M. of V. v. 1.56.
* ' They who brought me in my master's hate. "
Rich. Ill iii. 2. 56.
"But first I'll turn yon fellow in his grave."
lb. i. 2. 262 ; 3. 88.
" And throw them in the entrails of a wolf." — lb. iv. 3. 23.
" If ever ye came in hell." — Udall.
In (for " into") with " enter," Rich. II. ii. 3. 160 ; Rich. III. v,
3. 227.
Into is conversely sometimes found with verbs of rest implying
motion. " Is all my armour laid into my tent?" — Rich. III. v. 5. 51.
" Coufin'd into this rock." — Tempest, i. 2. 361.
" To appear into the world." — Montaigne, 224.
And earlier " Hid into three measures of meal." — WiCKLiFFE,
luke xiii. 21.
160. In for on :
" What in your own part (side) can you say to this ?"
Othello, i, 3. 74.
Sc in the phrase "m the neck," where we should say "c« the
neck " or "c7« the heels."
** Soon after that depriv'd him of his life
And, in the neck of that, task'd the whole state."
I Hen. IV. iv. 3. 92.
PREPOSITIONS. 107
The same phrase occurs Sonn. 131 ; Montaigne, 17; N. P. fjz.
"In pam of your dislike."— 2 Hen. VI. iii. 2. 257.
161. In for "during" or "at." In has now almost lost its
metaphorical use applied to time. As early as the sixteenth century
" In the day of Sabbath " (WiCKLlFFE, Acts xiii. 14) was replaced
by "on." It is still retained where the proper meaning of "in,"
" in the limits of," is implied, as with plurals, " Once in ten days"
or "for once in my life," or "he does more in one day than others
in two." Thus A. V. Gen. viii. 4, "/« the seventh month, on the
eighteenth day." We also find frequently in the A. V. " In the
day of the Lord, in the day when," &c. " in the day of judgment."
This may in part be due to a desire to retain the more archaic
idiom, as being more solemn and appropriate ; but perhaps the
local meaning of in may be here recognized. We still say " in
this calamity, crisis," &c. where we mean '^^ entangled in, sur-
rounded by the perils of this calamity ;" and some such meaning
may attach to "in" when we say " /« the day of tribulation,
vengeance," &c. Occasionally, however, we find "at the day of
judgment " [Matt. xi. 22), as also in Shakespeare in the only passage
where this phrase occurs. Shakespeare frequently uses in for "at"
or "during."
" How ! the duke in council
In this time of the n\g\\i."— Othello, i. 2. 93.
" In night." — V. and A. 720.
" In all which Wme."— Rich. Ill i. 3. 127.
" In such a night as this."— v1/. of V. v. i. 1, 6, 9.
"This is, sir, a doubt
In such a time as this, nothing becoming you."
Cymb. iv. 4. 15.
" Nay, we will slink away in supper-time." — M. ofV. ii. 4. 1.
162. In metaphorically used for "in the case of," "about," &c
" Triumph in so false a foe." — R. of L.
"In second voice we'll not be satisfied."
Tr. and Cr. ii. 3. 149.
" Almost all
Repent /« their election. " — Coriol. ii. 3. 263.
**Our fears in Banquo stick deep." — Macb. iii. I. 49.
*'{We) wear our health but sickly in his life
Which in his death were perfect." — lb. iii. i. 137.
io8 SHAKESPEARIAN GRAMMAR.
We say "/« my own person" or "by myself," not
*• Which in myself I boldly will defend."— i^/V/5. //. i. 1. 145
So ** But I bethink me what a weary way
In Ross and Willoughby . . . will be found." — lb. ii. 3. 10.
ue. **in the case of Ross," equivalent to " by Ross."
In is used metaphorically where we should say "in the thought
of" in
" Strengthen your patience in our last night's speech."
Hamlet, v. i. 317.
163. In. We still say '* it lies in your.power." But we find also —
" And the offender's life lies in the mercy
Of the duke only,"— M of V. iv. i. 355.
where we now should use at. This example illustrates the appa-
rently capricious change in the use of prepositions.
We should now use at instead of in and of, in
**/« night and on the court and guard of safety."
Othello, ii. 3. 216.
and " What ! in a town ofwQX."*—Ib. 213.
**/«-round" (O. Fr. **en rond ") is used for the more modern
" a-round" in ^
** They compassed him in round among themselves." — N. P. 192.
But probably "round" is for "around." Compare "compassed
him /«," — A. V. 2 Chron. xxi. 9.
164. In is used with a verbal to signify "in the act of" or
" while."
" He raves in saying nothing." — Tr. and Cr. iii. 3. 247.
" When you cast
Your stinking greasy caps in hooting at
Coriolanus' exile." — Coriol. iv. 6. 131.
"Mine eyes, the outward watch
Whereto my finger like a dial's point
Ts pointing still, in cleansing them from tears." — Rich. II. v. 5. 54.
" The fire that mounts the liquor till't run o'er,
In seeming to augment it, wastes it." — Hen. VIII. i. i. 145.
" And may ye both be suddenly surprised
By bloody hands in sleeping on your beds." — I Hen. VI. v. 3. 41.
* Biit " towns of war." Hen. i/. 11. 4. 7. means " garrisoned towns," and sa
probably here, like our * man qf'viiX "
PREPOSITIONS. 109
** As patches set upon a little breach
Discredit more in hiding of the fault." — K. J. iv. 2, 82.
It is probable, as the last example suggests, that these verbals are
nouns after which "of" is sometimes expressed. Hence " in sleep-
ing" may simply be another form of " a-sleeping." But the in
brings out, more strongly than the a-, the time in which, or while,
the action is being performed. It is also probable that the influence
of the French idiom, "c^/ disant ces mots," tended to mislead
Er^lish authors into the belief that in was superfluous, and that the
verbals thus used were present participles. (See also 93.) In is used
thus with a noun :
** Wept like two children in (during) their deaths' sad stories."
Rich. III. iv. 3. 8.
"(These blazes) giving more light than heat, extinct in both.
Even in their promise, while it is a-making."
Hamlet, i. 3-119.
165. Of (original meaning "off" or "from"). Comp. (Ix<f ;
"ab," Moeso-Gothic "af."
In Early English of is used for "From," "out of," "off," as in
"He lighted ^ his steed, arose ^ the dead," "The leaves fall oj
the tree. " This strong meaning of motion was afterwards assigned
to "<?^" (which is merely an emphatic form of of\ and hence oj
retained only a slight meaning of motion, which frequently merged
into causality, neighbourhood, possession, &c.
Off is, perhaps, simply of in
" Over-done or come tardy off."* — Hamlet, iii. 2. 28.
i.e. "fallen short of" Compare icrrepeTv. Otherwise "come off" is
a passive participle, 295.
Of retains its original meaning in
" Overhear this speech
Cy vantage." — Hamlet, iii. 3. 33.
ue. "from the vantage-ground of concealment."
" Therefore of all hands must we be forsworn."
Z. L. L. iv. 3. 219.
I.**, "from all sides," "to which ever side one looks j" hence "in
any case."
" Being regarded ^all hands by the Grecians." — N. P. 176.
• Compare "Too late o/oui intents." — Rirh. III. iiL 5. C9.
no SHAKESPEARIAN GRAMMAR.
So our modern "off hand," applied to a deed corvivag from the
hand, and not from the head. Hence ^^ of hand" is used where wc
use "on" (175) in
** Turn of no hand." — M. of V. ii. 2. 45.
Of also retains this meaning with some local adjectives and ad-
verbs, such as "north of" "south of" " within fifteen hundred paces
of" {Hen. V. iii. 7. 136). We could say "the advantage of" but
not " You should not have the eminence of him."
Tr. and Cr. ii. 2. 266.
* There is a testril of (from) me too."— 2". N. ii. 3. 34.
166. Of used for "out of," "from," with verbs that signify, either
literally or metaphorically, depriving, delivering, &c.
" We'll deliver you of your great danger." — Coriol. v. 6. 15.
" I may be delivered ^' these woes." — K. J. iii, 4. 56.
This use of ^is still retained in the phrase "to be delivered of a
child."
" Heaven make thee free of it." — Hamlet, v. 2. 342.
" To help him of his blindness."— 7! G. of V. iv. 2. 45.
" Unfumish me <?/ reason. "— ^ T. v. I. 123.
"Take ^me my daughter." — M. Ado, ii. I. 311.
" Rid the house of her."— 71 Sh. i. i. 150.
" Scour me this famous realm ^enemies." — B. and F.
" That Lepidus of the triumvirate
Should be deposed." — A. and C. iii. 6. 28.
" His cocks do win the battle still ^mine." — A.andC. ii. 3, 36.
" Get goal for goal of youth." — A. and C. iv. 8. 22.
"I discharge thee of thy prisoner." — M. Ado, v. I. 327.
In virtue of this meaning, of is frequently placed after forth and
out, to signify motion.
Hence, metaphorically,
** He could not justify himself ^the unjust accusations." — N. P. 173.
Of is also used with verbs and adjectives implying motion from^
such as "fail," "want," &c. Hence —
" But since you come too late ^our intents."— i?/^/^. ///. iii. 5. 69.
167. Of thus applied to time means "from." So still ''of late.'
" I took him of a child up." — B. J. E. in dfc. ii. I.
i.e. *'from a child, when a mere child." So in E. E. **of youth."
pREPOsri ION a. 1 1 1
*■■ Of long time he had bewitched them with sorceries."
Acts viii, II.
** Being of so young days brought up with him."
II amid, ii. 2. 11.
168. Of, meaning "from," passes naturally into the meaning
"resulting from," "as a consequence of."
" Ofioxz&y—M. of K iv. I. 421 ; I Hen. IV. iii 2. 120.
" Q/" no right."— I Hen. IV. iii. 2. 100.
" Bold of your worthiness." — L. L. L, ii. i. 28.
"We were dead of sleep." — Temp. v. i. 221.
" And of that natural luck
lie beats thee 'gainst the odds." — A. and C. ii. 3. 26.
Hence "What shall become e/"this?" M. Ado, iv. i. 211; T. N
ii. I. 37, means "what will be the consequence of this?"
So " by means of: "
" And thus do we of wisdom and of reach
By indirection find direction out." — Hamlet, ii. I. 64.
While by is used of external agencies, of is used of internal
motives, thus:
" Comest thou hither by chance, or of devotion ?"
2 Hen. VI. ii. i. 88.
" The king of his own royal disposition." — Rich. III. \. 3. 63.
" (y purpose to obscure my noble biith." — I Hen. VI. v. 4. 22.
" Art thou a messenger, or come of pleasure ?"
2 Hen. VI. V. I. 16.
Sometimes "out of" is thus used :
" But thou hast forced me,
» Out of thy honest truth, to play the woman. "
Hen. VIII. iii. 2. 431.
Of, "as a result of," is used as a result for "with the aid of,"
"with," or "at."
" That ... she be sent over ^the King of England's cost."
2 He7i. VI. i. I. 61.
" Cy the city's cost, the conduit shall run nothing but claret wine."
lb. iv. 6. 3.
Hence the modern phrase "To die of hunger."
169. Of hence is used m appeals and adjurations to signify
"out of."
*• cy charity, what km are you to mc? ' — T, xV. v. i. 237.
112 SHAKESPEARIAN- GRAMMAR,
Ilcnce, the sense of "out of" being lost, = **for the sake
of," "by."
" Speak ofoW loves."— Jif. A^ D. ii. 2. 154.
This explains
" Let it not enter in your mind, ^love." — M. of V. ii. 9. 42.
Similar is the use of of in protestations :
*' Leoit. We'll have dancing afterwards.
Ben. First, of my word." — T. N. v. 4. 123.
** A proper man, ofraine. honour." — 2 Heii. VI. iv. 2. 103.
170. Of meaning "from" is placed before an agent {from whom
the action is regarded as proceeding) where we use "by."
" Received ^(welcomed by) the most pious Edward."
Macb. iii. 6. 27.
" Like stars ashamed of day." — V. and A.
i. e. " sham ed (^^y day . "
Of is frequently thus used with "long," "'long," or "along."
— Layamon. "Along of" = "from alongside of" {irapd.
w ith gen. ).
' ' The good old man v/ould fain that all were well
So 'twere not Hong of him." — 3 Hen. VI. iv. 7. 32.
"'Z^w^'- all ^/Somerset."—! Hen. VL iv. 3. 46, 33.
" I am so wrapt and throwly lapt of jolly good ale and
old." — Still.
171. Of is hence used not merely of the agent but also of the
instrument. This is most common with verbs of construction, and
of filling ; because in construction and filling the result is not merely
effected ivith the instrument, but proceeds out ^it. "We still retain
of with verbs of construction and adjectives of fulness ; but the Eliza-
bethans retained ^with verbs of fulness also.
" Supplied of kernes and gallow-glasses. " — Macb. i. 2. 13.
" I am provided of 2l torch-bearer." — M. of V. ii. 2. 24.
"You are not satisfied of these events." — lb. v. i. 297.
" Mettle — where^ thy proud child arrogant man is puffed."
T. of A. iv. 3. 180.
" Mixt partly ^Mischief and partly o/Remedy." — B. .£'.114.
Hence " Flies
Whose woven wings the summer dyes
Of many colours. " — B. and F. Fair Sh. v. I.
PREPOSITIONS.
"3
Of witli verbs of construction from "out ^"sometimes assumes
the meaning of ** instead of."
"Made peace of enmity, fair love of hate." — Rich. Ill ii. i. 50.
And with " become : "
"(Henry) is of^ king become a banish'd man." — 3 Hen. VI. iii. 3. 25.
172. Of is hence used metaphorically with verbs of construction,
as in the modem
" They make an ass of me." — T. N. v. i. 19.
But of is also thus found without verbs of construction, as .
* Apem. Or thou shalt find —
Timon. A fool ^ thee. Depart."
T.ofA. iv. 3. 232.
" E'en such a husband
Hast thou of me as she is for a wife." — M. of V. iii. 5. 89.
" We should have found a bloody day ^ this." — i Hen. VI. iv. 7. 34.
" We shall find of him
A shrewd contriver." — J. C. ii. i. 157.
" We lost a jewel of her." — A. W. v. 3. 1.
" You have a nurse of me." — P. of T. iv. I. 25.
"You shall find of the king, sir, a father." — A. W. i. i. 7.
Le. "»« the king."
173. Of is hence applied not merely to the agent and the instru-
ment, but to any influencing circumstance, in the sense of "a.«!
regards," "what comes from."
"Fantasy,
Which is as thin i?/* substance as the air." — R. andf. L 4. 99.
" Roses are fast flowers of their smells." — B. E. 1 88.
" A valiant man of his hands." — N. P. 614.
" But of his cheere did seem too solemn-sad." — Spen. F. Q. i. i.
Under this head perhaps come :
" Niggard of question ; but of our demands
Most free in his reply." — Hamlet, iii. i. 13.
** Of his own body he was ill, and gave
The clergy ill example." — Hen. VIII. iv. 2. 43.
"That did but show thee, of a fool, inconstant
And damnable ungrateful." — W. T. iii. 2. 187.
ue. "as regards a fool," " in the matter of folly."
This may almost be called a locative case, and may illustrate the
I
114 SHAKESPEARIAN GRAMMAR.
Latin idiom "versus animi." It is common in E. E. We still say,
in accordance with this idiom, "swift of foot," ** ready ^wit," &c.
174. Of passes easily from meaning "as regards" to " concera-
ing," "about."
" Mine own escape unfold eth to my hope
The like of him."— T. N. i. 2. 21.
" You make me study of that." — Temp. ii. i. 81.
" 'Tis pity of \i\m."—M.for M. ii. 3. 42 ; A. and C. i. 4. 71.
" 'Twere pity of my life." — M. N. D. iii. i. 44.
" I wonder of there being together." — lb. iv. i. 128.
" Wise ^(informed of) the payment day." — B. E.
" He shall never more
Be fear'd of doing harm." — Lear, ii. 2. 113.
"The same will, I hope, happen to me, of death."
Montaigne, 36.
i.e. " with respect to death."
" I humbly do desire your grace ^pardon."
M.ofV. iv. I. 402.
" I shall desire you ^more acquaintance."
M. N. D. iii. I. 183 ; y^. Y. L. v. 4. 56.
For this use of "desire" compare A. V. St. John xii. 21, "they
desired \ivca saying," where Wickliffe has "preieden," "prayed."
"I humbly do beseech you of your pardon," — 0. iii. 3. 212.
"The dauphin whom of succours we entreated."
Hen. V. iii. '\. 45.
" Yet of your royal presence I'll adventure
The borrow ^/a week."— ^. T. i. 2. 38.
" We'll mannerly demand thee ^thy story." — Cyvib. iii. 6.92.
" Enquire^/ him. "—i^zV/^. //. iii. 2. 186.
i.e. ** about him."
" Discern of the coming on of years." — B. E. 105.
" Having determined ^ the Volsces and,"&c. — Coriol. ii.2.41.
" I'll venture so much of my hawk or hound."
T. ofSh. V. 2. 72.
" Since of your lives you set
So slight a valuation," — Cynib. iv. 4, 48.
In " No more can you distinguish of a man
Than of his outward show,"— ^zVi. ///. iii. i. 9, 10.
the meaning seems to be, "you can make no distinctions about men
more than," i.e. " except, about their appearances." So
PREPOSITIONS. IE5
** Since my soul could ^ men distinguish." — Hamlet^ iii. 2. G9.
In the following passages we should now use " for : " —
** France where^?/" England hath been an overmatch." — B. £".113.
** I have no mind ^feasting,"— il/. of V. ii. 5. 37.
** In change of him." — Tr. and Cr. iii. 3. 27.
•* Of this my privacy I have strong reasons."
Tr. and Cr. iii. 3. 190.
** In haste where^ most heartily I pray
Your highness to assign our trial day." — Rich. II. i. I. 150.
As we say *' what will become of (about) me !" so
"What will betide of m^'— Rich. Ill i. 3. 6.
We say *' power over us," not
"The sovereign power you have of us." — Hamlet^ ii. 2. 27.
"I have an eye on him," not
"Nay, then, I have an eye of yovi." — lb. 301.
175. Of signifying proximity of any kind is sometimes used locally
in the sense of " on." The connection between of and on is illustrated
hy M. of V. ii. 2, where old Gobbo says : * ' Thou hast got more
haire 071 thy chin than Dobbin my philhorse has on his taile ; " and
young Gobbo retorts, "I am sure he had more haire ^his taile than
I iiave of my face. "
" Gra. My master riding behind my mistress —
Cart. Both of one horse."—/: of Sh. iv. i. 71.
Of is sometimes used metaphorically for " on."
Compare " A plague of all cowards !" — i Hen. IV. ii. 4. 127.
with "A plague upon this howling." — Temp. i. i. 39.
"Who but to-day hammer'd^ this design. "—/^K T ii. 2. 49.
"I go ^ message." — 2 Hen. VI. iv. i. 113.
A message may be regarded as a motive from which, or as an
object towards which, an action proceeds, and hence either of or
"on" may be used.
Compare " He came ^an errand." — M. W. of W. i. 4. 80.
with "I will go 07t the slightest errand."— il/. Ado, ii. i. 272.
" Sweet mistress, what your name is else I know not,
Nor by what wonder you do hit ^mine." — C.ofE. iii. 2, JO,
Aid also — " And now again
Of him that did not ask, but mock, bestow
Your sued-for tongues." — Coriol. ii. 3. 215.
I 2
It6 SHAKESPEARIAN GRAMMAR.
*' I will bestow some precepts of this virgin."
A. W. iii. 5. 103 ; T. N. iii. 4. 2.
"Trustyng (?/■ (comp. "depending <?«") the continuance."
AsCH. Ded.
176. Of, signifying "coming from," "belonging to," when used
with time, signifies "during."
** These fifteen years : by my fay a goodly nap !
But did I never speak ^ all that time?"— 7". of Sh. Ind. 2. 84.
" There sleeps Titania sometime ^the night." — M. N. D. ii. i. 253.
i.e. ** sometimes during the night."
" My custom always of the afternoon." — Hamlet, i. 5. 60.
" And not be seen to wink ofzS\. the day." — L. L. L. i. I. 43.
" Cy the present."— rm/<?j/, i. I. 24.
So often " Of a. sudden."
177. Of is sometimes used to separate an object from the direct
action of a verb : [a) when the verb is used partitively, as " eat of,"
*• taste of," &c. ; [b) when the verb is of French origin, used with
"de," as "doubt," "despair," "accuise," "repent," "arrest,"
"appeal," "accept," "allow;" (c) when the verb is not always
or often used as a transitive verb, as "hope" or "Hke," especially
in the case of verbs once used impersonally.
(a) ^^ King. How fares our cousin Hamlet ?
Hamlet. Excellent, i' faith : of the chameleon's dish. "
Hamlet, iii. 2. 98.
(3) "To appeal each other ^ high treason. "—i?zV/z. //. i. i. 27.
" Of capital treason we arrest you here," — lb. iv. i. 151.
(r) " So then you hope of pardon from Lord Angelo ?"
M. for M: iii. i. 1.
" I will hope <?/" better deeds to-morrow." — A. and C. i. i. 62.
The of after " to like " is perhaps a result of the old impersonal
use of the verb, "me liketh," "him liketh," which might seem to
disqualify the verb from taking a direct object. Similarly "it
repents me of" becomes "I repent of;" "I complain myself of"
becomes " I complain of." So in E. E. "it marvels me of" becomes
" I marvel of" Hence —
" It was a lordling's daughter that liked of her master."
P. P. 212.
"Thou dislikest ^virtue for the name." — A. W. iL 3. 181.
PREPOSITIONS, 1 1 7
**I am a husband if you like of me." — M. Ado, v. 4. 59.
So Z. Z. Z. i. I. 107 ; iv. 3. 1.58 ; Rich. III. iv. 4. 354.
"To like of nought that would be imderstood."
Beaumont on B. J,
178. Of naturally followed a verbal noun. In many cases we
should call the verbal noun a participle, and the of has become
unintelligible to us. Thus we cannot now easily see why Shake-
speare should write —
" Dick the shepherd blows his nail."— Z. Z. Z. v. 2. 923.
and on the other hand —
'* The shepherd blowing of hxs nails." — 3 Hen. VI. ii. 5. 3.
Jiut in the latter sentence blowing was regarded as a noun, the
prepositional **a," **in," or **on" being omitted.
" The shepherd was a-blowing of his nails."
In the following instances we should now be inclined to treat the
verbal as a present participle because there is no preposition before it :
" Here stood he (a-)mumbling ^wicked charms. "—Z<?«r, ii. i. 41.
** We took him (a-)setting ^ boys' copies." — 2 Hen. VI. iv. 2. 96.
" And then I swore thee, (a-)saving ^thy life."— ^ C. v. 3. 38.
** Here was he merry (a-)hearing of a song." — A. V. L. ii. 7. 4.
where "hear ^" does not mean, as with us, "hear about. ^^ So
Lear, v. 3. 204. In all the above cases the verbal means "in the
act of."
In most cases, however, a preposition is inserted, and thus the
substantival use of the verbal is made evident. Thus :
" So find we profit by losing of our prayers." — A. and C. ii. I. 8.
" Your \o\ce for crowning of the king."
Rich. Ill iii. 4. 29 ; Hamlet, i. 5. 175 ; Lear, i. 3. 1.
" With halloing and singing of anthems." — 2 Hen. IV. i. 2. 213.
" What, threat you me with telling of the king?"
Rich. Ill i. 3. 113.
** About xe\\ev\ng of i\ie. sentinels." — i Hen. VI. ii. i. 70 ; iii. 4. 29.
If it be asked why "the" is not inserted before the verbal, —
t.g. "about the relieving of the sentinels," — the answer is that
relieving is already defined, and in such cases the article is generally
omitted by Shakespeare. (See 89.)
ri8 SHAKESPEARIAN GRAMMAR.
When the object comes before the verbal, of must be omitted :
" Ophelia. Hamlet . . . shaking of mine arm
And thrice his head thus waving.'''' — Hamlet, ii. I. 92.
The reason is obvious. We can say " in shaking of mine arm,"
but not " in his head thus w^aving."
Compare C. of E.y. i. 153 ; A. Y. Z.'ii. 4. 44, iv. 3. 10 ; IV. T. iii.
3. 69 ; I Hen. IV. ii. 4. 166 ; R. and J. v. I. 40.
" Yet the mother, if the house hold of our lady." — AsCH. 40.
" Hold," by itself, would mean " actually hold " (capiat). '* Hold
of" means "be of such a nature as to hold" (capax sit), "hold-
ing of"
179. Of is sometimes redundant before relatives and relatival
words in dependent sentences, mostly after verbs intransitive.
" Make choice of which your highness will see first."
M. N. D. v. I. 43.
" What it should be ... I cannot dream of^
Hamlet, ii. 2. 10.
" Making just report
Of horv unnatural and bemadding sorrow
The king hath cause to plain. " — Lear, iii. 2. 38.
*' He desires to know of you of whence you are,"
P. of T. ii. 3. 80.
where, however, "whence" is, perhaps, loosely used for "what
place," and of strictly used for " from."
The redundant and appositional of, which we still use after
" town," "city," "valley," &c., is used after "river" (as sometimes
by Chaucer and Mandeville) in
" The river of Cydnus." — A. and C. ii. 2. 192.
180. On, upon (interchanged in E. E. with "an"), represents
juxcaposition of any kind, metaphorical or otherwise. It was in
Early English a form of the preposition "an" which is used as an
adverbial prefix (see 141) ; and as late as Ascham we find —
" I fall on weeping." — AsCH. iii. 4.
"For sorrow, like a heavy-hanging bell
Once set on ringing, with his own weight goes. " — R.ofL. 1494.
Compare also our a-head with
" Hereupon the people ran on-head in tumult together." — N. P. 191,
" Why runnest thou thus on head?'' — Homily en Matri*nony.
PREPOSITIONS. 119
The metaphorical uses of this preposition have now been mostly
divided among of, in, and at, &c We still, however, retain the
phrase, ^' on this," ^^ on hearing this," &c. where on is **at the
time of," or *' immediately after." But we could not say —
**Here comes (333) the townsmen on (in) procession."
2 He7u VI. ii. i. 68.
"Read on (in) this book." — IlaiJilet, iii. I. 44. So Mon-
taigne, 227 : **To read on some book."
"Blushing on (at) her."— i?. of L. st. 453.
" On (at) a moderate pace." — T. N. ii. 2, 3.
** The common people being set on a broile." — N. P. 190.
(Comp. our " set on fire.")
"Horses on ('in' or *of') a white foam." — N. P. 186.
"C« (of) the sudden."— Zr^«. VIII iv. 2. 96.
"And live to be revenged on ('for' or 'about ') her death."
R. of I. 1778.
" Be not jealous on (of) me." — J: C. i. 2. 71.
" Fond <?;« her. "—i^. N. D. ii. i. 266.
"Nod on (at) him."-^ C. i. 2. 118.
" Command upon me." — Macbeth, iii. J. 17.
On, like "upon," is used metaphorically for "in consequence
of" in
" Lest more mischance
On plots and errors happen." — Hamlet, v. 2. 406 ;
for "m dependence on " in
" I stay here on my bond." — M. of V. iv. I. 242.
In " She's wandering to the tower
On pure heart's love to greet the tender princes,'"
Rich. in. iv. I. 4.
there is a confusion between "<?« an errand of love" and "out of
heart's love."
181. On is frequently used where we use "of" in the sense of
"about," &c. Thus above, "jealous 07t," and in Sonn. 84, "Fond
on praise." In Early English (Stratmann) we have " On witch-
craft I know nothing." " What shall become on me?" " Denmaik
won nothing on him." Compare —
"Enamour'd on his follies," — I Hen. IV. v. 2. 71.
**His lands which he stood seized on."* — Hamlet^ \. i. 88.
• Globe, "of."
lao SHAKESPEARIAN GRAMMAR.
"Or have we eaten on the insane root?" — Macbeth^ i. 3. 84i
" lie is so much made on here." — Coriol. iv. 5. 203.
"What think you ^«'/." — Hamlet^ i. i. 55,
Note the indifferent use oion and "of" in
" God have mercy on his soul
And of all Christian soVi\i."—Bamkt, iv. 5. 200.
The use of on in
" Intended or committed vi^as this fault?
If ^« the first, — I pardon thee," — Rich. II. v. 3. 34.
is illustrated by
" My gracious uncle, let me know my fault,
On what condition stands it. " — lb. ii. 3. 107.
182. On, being thus closely connected with " of," was frequently
used even for the possessive "of," particularly in rapid speech
before a contracted pronoun.
" One ^«'j- ears." — Coriol. ii. 2. 85. So Coriol. i. 3. 72 j iL
I. 202.
"The middle on^s face." — Lear^ iv. 5. 20.
" Two (?«'j daughters. " — lb. i. 4. 114.
''Troon's."— Cymb.y. e,.Zll.
" My profit on' t."— Temp. i. 2. 365, 456.
"You lie out on^t, sir." — Hamlet, v. I. 132 ; Lear^ iv. i. 52.
"He shall hear ^«V." — B. J. E. in ^c.
" I am glad on'C'—J. C. i. 3. 137.
In the two last examples on may perhaps be explained as meaning
"concerning," without reference to "of"
The explanation of this change of "of" to "on" appears to be as
follows. "Of" when rapidly pronounced before a consonant became
"o'."
"Body <?' me."— Hen. VIII v. 2. 22.
" a nights."— r. N. i. 3. 5.
Hence the 0' became the habitual representative of "of" in collo-
quial language, just as "a- " became the representative of "on " or
" an." But when 0' came before a vowel, what was to be done ?
Just as the "a-" was obliged to recur to its old form "an" before
a vowel or mute h (compare Hamlet, i. 4. 19, "to stand an-end"
and see 24), so before a vowel d was forced tc assume a euphonic
«. (Compare the Greek custom.)
:*.. .^.
PREPOSITIONS. Ml
And even when the pronoun is not contracted, we find in Coriol.
iv. 5. 174, the modem vulgarism —
"Worth six on him."
"To break the pate on thee."— i Hen, IV. il i. 34.
183. Out (out from) is used as a preposition V^^ forth.
•* You have push'd out your gates the very defender of them *'
Coriol. v. 2. 41.
(Early Eng. " Come out Ireland," " Out this land.")
" Out three years old." — Tenip. i. 2. 41, " beyond three years."
Explained by Nares, ** completely."
From out. See 157.
184. Till is used for to :
"From the first corse ////he that died to-day,"
Hamlet, i. 2. 105.
where probably till is a preposition, and " he " for " him. " See He.
"Lean'd her breast up //// a thorn." — P. P. st. 21.
Early Eng. " He said thus til (to) him," and, on the other hand,
" To (till) we be gone." So "unto" in Chaucer for "untiL**
"I need not sing this them until (for ^unto them')."
Hey WOOD.
"We know whereuntil (whereto) it doth amount."
Z. Z. Z. V. 2. 494.
" And hath shipped me intil (into) the land." — Hamlet,v. i. 81.
185. To* (see also Verbs, Infin.). Radical meaning motion
toavards. Hence addition. This meaning is now only retained with
verbs implying motion, and only the strong form ^' too" (comp. oj
and off) retains independently the meaning of addition. But in
Elizabethan authors too is written to, and the prepositional meaning
" in addition to " is found, without a verb of motion, and sometimes
without any verb.
" But he could read and had your languages
And to't as sound a noddle," &c. — B. J. Fox, ii. I.
** If he . . . to his shape, were heir of all this land."
K. y. I I. 144
• Cump. Kooe throughout.
123 SHAKESPEARIAN LrRAMMAR,
"And to that dauntless temper of his mind
He hath a wisdom that doth guide his valour,"
Macbeth, iii. 1. 52.
i.e. *'/« addition to that dauntless temper." TJ?, in this sense, hai
been supplanted by ** beside." Compare also
" Nineteen more, to myself," — B. J. E. in ^'c. iv. 5.
To is used still adverbially in *^ to and fro," and nautical expres-
sions such as "heave to,^' "come to." This use explains "Go /o,"
M. of V. ii. 2. 169. "Go" did not in Elizabethan or E. E. neces-
sarily imply xi\.oWon from, but motion generally. Hence "go to"
meant little more than our stimulative " come, come."
186. To hence means motion, "with a view to," "for an end," &c.
This is of course still common before verbs, but the Elizabethans
used to ill this sense before nouns.
" He which hath no stomach to this fight." — Hen. V. iv. 3. 35.
" For to that (to that end)
The multiplying villanies of Nature
Do swarm upon him." — Macbeth, i, 2. 10.
"Prepare yourself to death,"— f^ T. iii. i. 167.
"Arm you to the sudden time." — H. J. v. 6. 26.
" The impression of keen whips I 'Id wear as rubies
And strip myself to (for) death as to a bed."
M.forM. ii, 4. 102.
" Giving to you no further personal power
To (for the purpose of) business with the king."
Hamlet, i. 2, 37.
"Pawn me to this your honour." — T A. i. i. 147.
"Few words, but, to effect, more than all yet."
Lear, iii. i. 52.
" He is frank'd up to fatting for his pains,"
Rich. HI. i. 3. 314.
Hence it seems used for for in
" Ere I had made a prologue to my brains
They had begun the play." — Ham/et, v. 2. 30
And perhaps in
"This is a dear manakin to you, Sir Toby." — T. JV^ iii. 2. 57.
But see 419 a, for this last example.
187. To hence, even without a verb of motion, means "motion
to the side of." Hence "motion to and consequent rest near," as m
PREPOSITIONS. 123
** Like yourself *
Who ever yet have stood to charity." — Hen. VIII. ii. 4. 86.
** To this point I siaxid.."— Hamlet, iv. 5. 187.
"1 beseech you, stand to me." — 2 Hen. IV. li. i. 70.
i e. ** Come and stand by me, help me."
Motion against in :
"The lady Beatrice hath a quarrel to you." — AI. Ado, ii. i. 244
^o T. N. iii. 4. 248 ; Coriol iv. 5. 133.
Motion to meet:
** To her doom she dares not stand." — B. and F. Fait Sk. v. I.
Motion toward:
"What wouldst thou have to Athens?"— 7! of A. iv. 3. 287.
*' To Milan let me hear from thee by letters."
T. G. of V. i. I. 57.
Hence "by the side of," " in comparison with."
" Impostors to true fear." — Macb. iii. 4. 64.
i.e. "Impostors when brought to the side of, and compared with,
true fear."
" There is no woe to his correction,
Nor to his service no such joy on earth. "
T G. of V. ii. 4. 138, 139.
"The harlot's cheek, beautied with plastering art,
Is not more ugly to the thing that helps it
Than is my deed to my most painted word."
Hamlet, iii. I. 51-53,
In " Treason can but peep to what it would,
Acts little of his will,"— /<5. iv. 5. 125.
either to means "towards," an unusual construction with "peep,"
or the meaning is "treason can do nothing more than peep in
comparison with what it wishes to do. "
" Undervalued to tried gold. " — M. of V. ii. 7. 53.
Hence "up to," "in proportion to," "according to."
" The Greeks are strong and skilful to their stiength."
Tr. and Cr. i. I. 7.
" That which we have we prize not to the worth."
M. Ado, iv. I. 22c.
'■^ To's power he would
Have made them mules." — Coriol. ii. i. 262.
124 SHAKESPEARIAN GRAMMAR,
'* Perform'd to point the tempest that I bade thee."
Temp. L 2. 19i,
*' He needs not our mistrust, since he delivers
Our offices and what we have to do
Te the direction just. " — Macb. iii. 3. 4.
Hence **like."
** My lady, to the manner of the days.
In courtesy gives undeserving praise. " — Z, Z. Z. v. 2. 365.
" Looked it of the hue
To such as live in great men's bosoms?" — B. J. Sejan. v. i.
** This is right to (exactly like) that (saying) of Horace."
B. J. E. out ^c. ii. I.
To seems to mean ** even up to " in
** And make my senses credit thy relation
To points that seem unpossible." — P. of T. y. 1. 125.
188. To is sometimes used without any sense of motion for
"near."
** It would unclog my heart
Of what lies heavy to V." — Coriol. iv. 2. 48.
** Sits smiling to my heart." — Hamlet, i. 2. 124.
for ** by " in
** Where ... the best of all her sex
Doth only ^£7 her worthy self abide."— B. and F. F. Sh, ii. 1.
In the difficult passage ( W. T. iv. 4. 550) :
*' But, as the unthought on accident is guilty
To what we wildly do."
"Guilty" seems used for "responsible," and chance us said to be
"responsible /^" rashness (personified). (Or is to "as to," i.e. as
regards ?)
In N. P. 175 there is *Uo the contrary," (but this is a translation
of "au contraire,") for "on the contrary."
To is inserted after "trust" (whereas we have rejected it in
parenthetical phrases, probably for euphony's sake).
" And, trust to me, Ulysses,
Our imputation will be oddly poised." — Tr. and Cr, i. 3. 339.
To seems "up to," "as much as," in
" I'll part sooner with my soul of reason than yield to one foot
of land.''— B. and F. Elder Brother, iii. 5.
PREPOSITIONS. 125
188a. "To," with Adjectives signifying obedience, &c.
To is still used in the sense of " towards " after some adjectives, such
as (i) "gentle," {2) "disobedient," (3) "open." But we could
not say
(1) "If thou dost find him tractable to ms."— Rich. III. iii. i. 174.
(2) "A will most incorrect (unsubmissive) to heaven."
Hamlet^ i. 2. 95.
"The queen is stubborn to justice." — Hen. VIII. ii. 4. 122.
(3) ^'^ Penetrable to your kind entreats." — Rich. III. iii. 7. 225.
"Vulgar to sensQ." *— Hamlet, i. 2. 99.
i.e. " open to ordinary observation."
Similarly to is used after nouns where we should use "against,"
"inthesight of :"
" Fie ! 'tis a fault to heaven,
A fault against the dead, a fault to nature,
To reason most absurd," — Hamlet, i. 2. 103.
189. To, from meaning "like," came into the meaning of
"representation," "equivalence," "apposition." (Comp. Latin
"Habemus Deum amico.")
"I have a king here to my flatterer." — Rich. II. iv. I. 306.
"To crave the French king's sister
To wife for Edward."— 3 Hen. VI. iii. i. 31.
" Now therefore would I have thee to my tutor."
T. G.ofV. iii. I. 84.
"Destiny . . . that hath to instrument this lower world."
Temp. iii. 2. 64.
"And with her to dowry some petty dukedoms."
Hen. V. iii. Prol 31.
" Lay their swords to pavm." — M. W. of W. iii. i. 113.
"Had I admittance and opportunity to friend." — Cyjnb. i. 4. 118.
"Tunis was never graced before with
Such a paragon to their queen." — Temp. ii. i. 75.
Compare also Macb. iv. 3. 10 ; y. C. iri. I. 143.
" The king had no port to friend." — Clarendon, Hist. 7.
"A fond woman to my mother {i.e. who was my mother)
taught me so. " — Wager.
Thus "/<? boot " means " by way of, or for, addition." So in E. E,
**to sooth" is used for "forsooth."
* So •' retentive to" J. C. I 3. 96.
126 SHAKESPEARIAN GRAMMAR.
190. To, in the phrase " I would to God," may mean " near," "in
the sight of;" or there may be a meaning of motion : "I should
desire (even carrying my desire) to God. " In the phrase " He that
is cruel to halves" (B. J. Disc. 759), to means, perhaps, "up to the
limit of." Possibly, however, this phrase may be nothing but a
corruption of the more correct idiom " Would God that," which is
more common in our version of the Bible than " I would." The to
may be a remnant and corruption of the inflection of "would,"
"wolt/^;" and the /may have been added for the supposed neces-
sity of a nominative. Thus
" Now wold^ God that I might sleepen ever."
Chaucer, Monke's Tale, 14746.
So " thou wert best" is a corruption of " it were best for thee."
This theory is rendered the more probable because, as a rule, in
Wickliffe's version of the Old Testament, " Wolde God" is found
in the older MSS., and is altered into "we wolden" in the later.
Thus Genesis xvi. 3 ; Ahimbers xx. 3 ; Joshua vii. 7 ; Judges ix. 29 ;
2 Kings v. 3 (Forshall and Madden, 1850). However, Chaucer
has "I hoped to God" repeatedly.
To was used, however, without any notion of "motion toward
the future " in to-night {last night).
" I di'/a' dream to-night.''— M. of V. ii. 5. 18 ; 2 Hen. VI. iii. 2. 31.
So in E, E. ^'^ to year" for "this year," ^^ to summer," &c. Perhaps
the provincial " I will come the night, the morn," &c. is a corruption
of this "to." It is, indeed, suggested by Mr. Morris that to is
a corruption of the demonstrative. On the other hand, to in E. E.
was "often used with a noun to form adverbs." — Layamon
{^Glossary).
"He aras to J^an mid-nihte," — Layamon, i. 324.
is used for " he arose in the midnight."
Unto, like To, 185, is used for " in addition to :"
" Unto my mother's prayers I bend my knee,"
Rich. IL V. 3. 97
191. Upon ("for the purpose of") is still used in ''^upon an
errand," but not, as in
" Upon malicious bravery dost thou come ?" — Othello^ i. i. 100,
PREPOSITIONS. 127
We should use **over" in
** I have no power upon you," — A. and C. i. 3. 23.
and we should not use upon in
" And would usurp upon my watery eyes." — T. A. iii. i. 269.
** Let your highness
Command upon me." — Macbeth, iii. I. 17.
though after ** claim" and "demand" upon is still used. So *'an
attack upon" is still English, but not
" I have o'erheard a plot of death upojt him." — Lear, iii. 6. 96.
nor " I am yours . . . upon your will to suffer." — A. W. iv. 4. 30.
i.e. "in dependence on." It would seem that the metaphorical use
of upojt is now felt to be too bold unless suggested by some strong
word implying an actual, and not a possible influence. Thus
"claim" and "demand" are actual, while "power" may, perhaps,
not be put in action. So "attack" and "assault" are the actual
results of " plot." Yet the variable use of prepositions, and their
close connection with particular words, is illustrated by the fact that
we can say, "I will wait upon him," but not
" I thank you and will stay upon your leisure." — A. W. iii. 5. 48.
Even here, however, our "wait upon" means, like "call upon" an
actual interview, and does not, like " stay upon" signify the " staying
in hope of, or on the chance of, audience."
Upon also means " in consequence of."
" When he shall hear she died upon [i.e. not * after,' but * in
consequence of") his words."— J/ Ado, iv. i. 225.
" And fled is he upon this villany." — lb. v. i. 258.
" Break faith upon commodity." — K. y. ii. i. 597.
" Thy son is banish'd upon good advice." — Rich. II. i. 3. 233.
In " You have too much respect upon the world,"
M. of V. i. I. 74.
there is an allusion to the literal meaning of "respect." "You
look too much upon the world." The tipon is connected witli
"respect," and is not used like our "for" in "I have no respect
for him."
The use of "upon" to denote "at" or "immediately after" is
retained in '■^ upon this ;" but we could not say
"You come most carefully upon your hour." — Hamlet^ i. 1.6.
128 SHAKESPEARIAN GRAMMAR.
192. "Upon is often used like on adverbially after the verb "look."''
" Nay, all of you that stand and look upon.'" — Rich. II. iv. i, 237.
** Why stand we like soft-hearted women here
And look upon, as if," &c. — 3 Hen. VI. ii. 3. 27.
** Strike all that look upon with marvel, come." — W. T. v. 3. 100.
"Near upon" is adverbial in
*' And very near upon
The duke is entering." — M.forM. iv. 6. 14.
" Indeed, my lord, it followed hard upon." — Havilet^ i. 2. 179.
Upon, from meaning superposition, comes to mean **in accord-
ance with" (like "after") :
*' Upon my power I may dismiss this court. "
M. of V. iv. I. 104.
193. With (which, like "by," signifies juxtaposition) is often
used to express the juxtaposition of cause and effect.
**I live with (on) bread like you." — Rich. II. iii. 2. 175.
We could say "he trembles with fear," "fear" being regarded
as connected with the trembler, but not
" My inward soul
With nothing trembles : at something it grieves
More than with parting from my lord the king. "
Rich. II. ii. 2. 12, 13.
** As an unperfect actor on the stage
Who with his fear is put besides his part. " — Son7t. 23.
We should say **m his fear" (or *^ by his fear," personifying
Fear) ; or append the clause to the verb, ' ' put beside his part with
fear. "
*' It were a better death than die with mocks,
Which is as bad as die with tickling. "—J/. Ado, iii. i. 79, 80.
"Another choaked with the kernel] of a grape, and an emperour
die by the scratch of a combe, and Aufidius with stumbling against
the doore, and Lepidus with hitting his foot." — Montaigne, 32.
Here the use of "by" seems intended to distinguish an external
from an internal cause.
We say "so far gone in fear," but not
" Thus both are gone with conscience ard remorse."
Rich. III. iv. 3. 20.
"This comes with seeking you." — T. N. ui. 4. 366.
PREPOSITIONS. Z29
*'I feel remorse in myself w/V/^ his words.*' — 2 Hen. VI. iv. 7. Ill,
More rarely, with is used with an agent :
" Rounded in the ear
With that same purpose-changer, thatsly devil."— A'. J. ii. I. 637.
" We had like to have had our two noses snapped off with two
old men without teeth,"— vT/. Ado^ v. i. 116.
" Boarded with a pirate." — 2 Hen. VI. iv. 9. 33.
** He was torn to pieces with a bear." — W. T. v. 2. 66.
** Assisted with your honoured friends." — lb. v. I. 13.
This explains
" Since I am crept in favour with myself
I will maintain it with some little cost." — Rich. III. i. 2. 260.
The obvious interpretation is, "since I have crept into the good
graces of myself ;" but the second line shows the "I" to be superior
to "myself," which is to be maintained by the "I." The true
explanation is, *' since I have crept into (Lady Anne's) favour w/'M
the aid of my personal appearance, I will pay some attention to my
person." Add, probably, Hamlet, iii. 2. 207.
This meaning is common in E. E. :
** He was slayn wy^ (by) Ercules."
R. OF Brunne, Chron. i. 12. 340.
With = '* by means of."
** He went about to make amends with committing a worse fault."
— N. P. 176, where the French is "par une autre." So N. P. 176.
With = "in addition to," even when there are not two nouns tc
be connected together :
"Very wise and with his wisdome very valiant." — N. P. 664.
With is, perhaps, used for "as regards," "in relation to," as in
our modern " this has not much weight with me," in
"Is Cassar with Antonius priz'd so slight?" — A. and C. i. I. 56.
though here, perhaps, as above, with may mean "by." At all
events the passage illustrates the connection between " with" and
"by." Compare
" His taints and honours
Wag'd equal with {i.e. in) him." — A. and C. v. I. 31.
"So fond with gain." — R. of L. 134.
194. With is hence looseiy used to signify any connection with
an action, as in "to change with" (Montaigne, 233), where we
should say "to exchange yi?r. " So, though we still say "I parted
K
I30 SHAKESPEARIAN GRAMMAR.
with a house," or *^witk a servant (considered as a chattel)," wc
could not say
"When you parted ivith the kmg." — Rich. II. ii. 2. 2.
'* As a long-parted mother with her child."
lb. iii. 2. 8 ; Rich. III. i. 4. 251
where wz'/y^ is connected with parting. See 419 a. So
*' I rather will suspect the sun with cold
Than thee with wantonness. " — M. W. of W. iv. 4. 5.
as we say * ' I charge him with. "
"Next them, with some small distance, follows a gentleman bear-
ing the purpose, " — Hen. VIII. ii. 4, stage direction.
'« Equal zvith,'' 3 Hen. VI. iii. 2. 137, is like our "level with.'' In
" The violence of either grief or joy
Their own enactures with themselves destroy,"
Hamlet, iii. 2. 207.
" with themselves" seems to mean "by or of themselves."
Note " They have all persuaded with him." — M. of V. iii. 2. 283.
i.e. "argued with." So "flatter" is used for "deal flatteringly"
in T. N. i. 5. 322, and in the first of the following lines :
" K. Rich. Should dying men flatter with those that live?
Gaunt. No, no, men living flatter those that die."
Rich. II ii. I. 88, 89.
"(She) married with my uncle." — Hamlet, i. 2. 161.
"I will break with her."— i^f. Ado, i. i. 311.
i.e. " open the matter in conversation with."
195. With is used by Ben Jonson for like.
" Not above a two shilling.
B. 'Tis somewhat with the least." — B. J. E. in ^c. i. 4.
" Something like, very near the least."
"'He is not with himself." — T. A. I i. 368. i.e. "in his senses.''
Ben Jonson also uses without in the sense of " unlike," "beyond."
" An act without your sex, it is so rare." — B. J, Sejan. ii. i.
196. Withal, the emphatic form of " with " (see " all"), is used
for with after the object at the end of a sentence. Mostly, the
object is a relative.
" These banish'd men that I have kept withal.'''
T. G.ofV. v. 4. 152.
i.e. " With whom I have lived."— A. J. iii. i. 327.
/"REPOSITIONS. 1 3 1
" And this is false you burden me withal."— C. of E. v. i. 268.
i.e. "this with which you burden me."
♦* Such a fellow is not to be talk'd withal."— M. for 31. v. i. 347-
Sometimes **this" is understood after withal, so that it means
"with all this," and is used adverbially :
*' So glad of this as they I cannot be
Who are surprised «;////«/." — Te?np. iv. i. 217.
i.e. "surprised with, or at, this." Here however, perhaps, and
elsewhere certainly, with means "in addition to," and "zt////5-all
(this)" means "besides."
" I must have liberty withal."— A. Y. L. ii. 7. 48.
" KMxxig withal."— Rich. IL iv. i. 18, &c.
But in " I came hither to acquaint you withal" — A. V. L.'\. i. 139.
there is no meaning of "besides," and withal means "there-
with," "with it."
Withal ioWow?, its object, but is (on account of the "all" at the
end of the previous verse) not placed at the end of the sentence, in
" Even all I have, yea, and myself and all
Will I withal endow a child of thine."— i?ir/5. ///. iv. 4. 249.
197. Without (used locally for " outside ").
" What seal is that that hangs without thy bosom?"
Rich. II v. I. 56.
" ^F^^/%<7«/theperilof the Athenian law."—/]/. N. D. iv. i. 150.
"A mile without the town." — lb. i. i. 104.
This explains the pun :
" Val. Are all these things perceived in me ?
Speed. They are all perceived without ye." — T. G. of V. ii. I. Z5.
Reversely, "out of" is used metaphorically for "without."
"Neither can anything please God that we do if it be done out
(/charity." — H ALU well.
198. Prepositions are frequently omitted after verbs of
motion. Motion in :
"To reel the streets at noon."* — A. and C. i. 4. 20.
"She«/a«^/<?rVmany a wood." — Spens. F. Q. i. 7. 28.
" To creep the ground." " Tower the sky, " — MiLTON, F. L. vii. 441.
* " To bee great Fompcy /ass the streets of Rome." — y, C. L i. 47.
K 2
13-2 SHAKESPEARIAN GRAMMAR.
Motion to oxjrom :
" That gallant spirit hath aspired the clouds."
R. a7idj. iii. i. 122.
"Ere we could arrive the point proposed." — J. C. i. 2. 110.
" ^rr/z/^^ our coast. " — ■t, Nen. VI. v. 3. 8.
" Some sailors that escaped i\ie. wreck." — M. of V. iii. I. 110.
"When we with tQ2ir& parted Pentapolis. "— /". of T. y. 2,. 38.
^''Depart the chamber and leave us." — 2 Hen. IV. iv. 5, 91
" To depart the city. " — N. P. 190.
" Since presently your souls must/«r/ your bodies."
Rich. II. iii. i. 3.
We can still say "to descend the hill," but not "to descend the
summit," nor
"Some (of her hair) desce7tded her sheav'd hat." — L. C. 31.
These omissions may perhaps illustrate the idiom in Latin, and
in Greek poetry.
Verbs of ablation, such as "bar," "banish," "forbid," often
omit the preposition before the place or inanimate object. Thus
" We'll bar iheo^from succession." — W. T. iv. 4. 440.
Or " 0/"' succession." — Cyinb. iii. 3. 102.
becomes '''^ Bars me the right."
M. of V. ii. 1. 16 ; Rich. Ill iv. 4. 400 ',A.Y.L. 1. i. 20.
Where a verb can take either the person or thing as an object, it
naturally takes an indirect object without a preposition. Compare
" Therefore we banish you our territories." — Rich. II. i. 3. 139.
198 a. The preposition is omitted after some verbs and
adjectives that imply ** value," "worth," &c.
" The queen is valued thirty thousand strong."
3 Hen. VI V. 3. 14.
" Some precepts worthy the note." — A. W. iii. 5. 104.
An imitation of this construction is, perhaps, to be traced in
" Guilty so great a crime." — B. and F. F. Sh. iv. I.
The omission of a preposition before "good cheap" (A,-S. cedp^
"price," "bargain"), l Hen. IV. iii. 3. 50, may perhaps be thus
explamed without reference to the French " bon march^." And
thus, without any verb or adjective of worth,
**He has disgraced me and hindered me ha fa million."
M. of V. iii I. 57.
PREPOSITIONS.
m
"Serablative" (unless adverbial [i]) is used with the same con-
struction as *' like" in
" And all is setnblative a woman's part." — T. N.'i. 4. 34.
199. The preposition is also sometimes omitted before the thin§
heard after verbs of hearing :
"To listen our purpose." — M. Ado, iiL I. 12.
** List a brief tale."— i>ar, v. 3. 181.
So y. C. V. 5. 15 ; Hamlet, i. 3. 30 ; J. C. iv. i. 41.
*' Zif/^wm^ their fear. " — Macbeth, ii. 2. 28.
Hence in the passive,
"He that no more must say is listened move."
Rkh. IL ii. I. 9.
"Hearken* the end."— 2 Hen. IV. ii. 4. 305 ; Temp. i. 2. 122.
200. The preposition is omitted after some verbs which car
easily be regarded as transitive. Thus if we can say "plot my
death," there is httle difficulty in the licence.
" That do conspire (for) my death. "—v?/c-/^. ///. iil 4. 62.
" (In) Which from the womb I did participate."— T.JV. v. 1. 245.
" She complained (about) her wrongs." — R. of L. 1 839.
" And his physicians y^cr (for) him mightily."
Rick. HI. i. I. 137.
So 1 Hen. IV. iv. I. 24 ; T. ^ A. il 2. 12 ; T. A. ii. 3. 305 ;
M. of V. iii. 2. 29.
This explains
" O, fear me not." — Hamlet, i. 3. 52 ; iii. 4. 7. .
" That he would labour (for) my delivery. "—AVr//. ///. i. i. 253.
" To look (for) our dead. "—Hen. V. iv. 7. 76.
" I must go look (for) my twigs." — A. W. iii. 6. 115.
" He hath been all this day to look (for) you." — A. Y. L. \\. 5. 34.
Antl in the difficult passage —
" O, whither hast thou led me, Egypt ? See
How I convey my shame out of thine eyes
By looking back what I have left behind
'Stroy'd in dishonour." — A. and C. iii. II. 53.
Wliile tui-ning away from Cleopatra, Antony appears to say, that
he is looking back (for) the fleet that he has left dishonoured and
desti oyed.
" The Globe inserts "at."
134 SHAKESPEARIAN GRAMMAR.
So " Scoffing (at) Ms state. "—^/<r>^. //. iii. 2. 163.
** Smile you (at) my speeches as I were a fool ! " — Lear,
'* Thou swear's^ (by) thy gods in vain." — 15. i. I. 163.
** Yet thus far, Griffith, give me leave to spea^ (of) him,"
Jlen. Fill. iv. 2. 32.
Both here and in Z. Z. Z. v. 2. 349 ; Macbeth, iv. 3. 159 ; T. N.
i. 4. 20, "speak" is used for describe. In Macbeth, iv. 3. 154, "'tis
spoken" is used for "'tis said." Again, "said" is used for
" called" in
"To be said an honest man and a good housekeeper."
7: iV: iv. 2. 10 ; so Macbeth, iv. 3. 210.
"Talking that" is used like "saying that" in Tempest, ii. i. 96.
"Speak," however, in R. and y. iii. I. 158, *^ Spake him fair"
means " speak to :" but in the same expression M. of V. iv. i. 271
it means "speak of" Similarly, " whisper " is often used without
a preposition before a personal object.
" He came to whisper Wolsey. "— ^^«. VIII. i. i. 179.
" They whisper one another in the ear." — K. J. iv. 2. 189.
" Your followers I will whisper to the business."
W. T.x.'i. 437.
Rarely, ^^ whisper \\ex ^■sx.^^ — M. Ado, iii. i. 4.
In some cases, as in
" She will attend it better,"
T. N. i. 3. 27, 2. 453; M. of V. y. 4. 103,
the derivation may explain the transitive use.
*^ Despair thy charm," — Macbeth, v. 8. 13.
is, perhaps, a Latinism. So "sympathise," meaning "suffer with,"
is used thus :
" The senseless brands will sympathise
The heavy accent of thy moving tongue. "
Rich. IL v. I. 47.
"Deprive," meaning "take away a thing from a person," like
"rid," can dispense with " of" before the impersonal object.
" 'Tis honour to deprive dishonour'd life." — R. of L. J186.
Tills explains how we should understand —
" Which might deprive your sovereignty of reason."
Hamlet, i. 4. 73.
i.e. "which might take away your controlling principle of reason.*'
So, perhaps, ''Frees all iix\!i\\.%." —Tempest, Epilogue, 18.
PREPOSITIONS. 135
This seems to have ansen from the desire of brevity. Compare
the tendency to convert nouns, adjectives, and neuter verbs into
active verbs (290).
201. The preposition was also omitted before the indirect
object of some verbs, such as "say," "question," just as we still
omit it after the corresponding verbs, "tell" and "ask."
" Sayest (to) me so, friend?"—/: of Sh. i. 2. 190.
" You will say (to) a beggar, nz.y"—Rich. III. iii. I. 119.
" Still questioned (of) me the story of my life," — Othello, I 3. 129,
In " Hear me a word,"— i^/V/^. ///. iv. 4. 180.
it must be a question whether me or word is the direct object. In
"I cry thee mercy," — Rich. III. iv. 4. 515.
"mercy" is the direct object. This is evident from the shorter
form
"(I) Cry mexcy."— Rich. Ill v. 3. 224.
After "give," we generally omit "to," when the object of "to "
is a personal noun or pronoun. But we could not write —
" A bed-swerver, even as bad as these
That (to whom) vulgars (the vulgar) give bold'st titles. "
W. T. n. I. 94.
" Unto his lordship, (to) whose unwished yoke
My soul consents not to give sovereignty." — M. N. D, i. I. 81.
Somewhat similar is
" This 'longs the text."— /*. of T. ii. Gower, 40.
for "belongs (to) the text."
202. Preposition omitted in adverbial expressions of time,
manner, &c.
" Forbear to sleep the nights, and fast the days."
Rich. in. iv. 4. 118.
This is illustrated by our modem
" (Of) What kind oi man is he V'—T. N. i. 5. 159.
" But wherefore do not you a mightier way
Make war upon this bloody tyrant, time ?" — Sonn. 16.
" My poor country
(Shall) More suffer, and more sundry ways, than ever."
Macbeth, iv. 3. 48 ; so lb. i. 3. 154
" Revel the night, rob, murder, and commit •
The newest %va.% the newest kind of ways." — 2 Hen. IV. iv. 5. 12d»
136 SHAKESPEARIAN GRAMMAR.
"And ye sad hours that move a sullen pace.**
B and F. F. Sk. iv r.
"I will a round unvarnish'd tale deliver
Of my whole course of life ; ivkat drugs, what charms^
JVkat conjuration, ajid what mighty magic
(For such proceeding I am charg'd withal)
I won Xi3 daughter." — Othello, i. ^. 91.
** How many would the peaceful city quit
To welcome him ! iVIuch more, and much more cause, *
Did they this Harry."— ^^«. V. v. Prol. 34.
"To keep Prince Harry in continual laughter the wearing out oj
six fashions, which is four terms." — 2 Hen. IV. v. i. 84.
"Why hast thou not served thyself into my table so many meals?**
— Tr. and Cr. ii. 3. 45: i.e. ' Vzm;?^ so many meals. "
" To meet his grz.c^Just distance 'tween our armies."
2 Hen. IV. iv. i. 225.
" That I did suit me all points like a man."— ^4. Y. L. i. 3. 118.
** But were I not the better part made mercy." — lb. iii. i. 2.
" And when such time they have begun to cry." — Coriol. iii. 3. 19.
"Where and what titne your majesty shall please."
Rich. Ill iv. X 450.
" What time vfQ will our celebration keep." — T. IV. iv. 3. 30.
"Awhile they bore her up,
Which time she chanted snatches of old tunes." — Ham. iv. 7. 178.
In the following cases it would seem that a prepositional phrase is
condensed into a preposition, just as "by the side of" (Chaucer,
'* byside Bathe") becomes " be-side," and governs an object.
" On this side T\her."—y. C. iii. 2. 254.
"Fasten'd ourselves at either end the mast." — C. of E. \. i. 86.
" A sheet of paper writ o' both sides the leaf." — L. L. L. v. 2. 8.
* On each side her the Bishops of London and Winchester. "
Hen. VIII. iv. I {order of corotiation).
*' She is as forward of our breeding as
She is in the rear our birth. "-^^F. T. iv. 4. 522.
" Our purpose " seems to mean " for our purpose," in
" Not to know what we speak to one another, so we seem to
know, is to know straight, our purpose: chough's language, gabble
enough and good enough. " — A. W. iv. i. 21.
This seems the best punctuation. " Provided we seem to know
wliat we say to one another, ignorance is exactly as good as know-
ledge, foi our purpose. "
* But "and (there was) much more cause " may be a parenthesis.
PREPOSITIONS. 137
Hence the use of ihis for *' in this way" or ** thus" is not so bold
as it seems :
** What am I that thou shouldst contemn m.e this ?
What were thy lips the worse for one poor kiss?"
V. and A. 203.
Perhaps, however, "contemn" is confused with "refuse." But this
is used for "thus" in E, E.
All constantly repeated adverbial expressions have a tendency to
abbreviate or lose their prepositions. Compare "alive " for "on
live," "around" for "in round," "chance" for "perchance,''
"like " for "belike," &c. In some adverbial expressions the pre-
position can be omitted when the noun is qualified by an adjective,
but not otherwise. Thus we can use " yester-day, " "last night,"
"this week," adverbially, but not "day," "night," "week,"
Ijecause in the latter words there is nothing to indicate how time
is regarded. In O. E. the inflections were sufficient to justify an
advei-bial use, "day^j-," "night^J-." (Compare vvktSs.) But the
inflections being lost, the adverbial use was lost with them.
203. Prepositions : transposed. (See also Upon.) inA.-S.
and E. E. prepositions are often placed after their objects. In some
cases the preposition may be considered as a separable part of a
compound transitive verb. Thus in
" Ne how the Grekes with a huge route
Three times ridm all the fire aboute" — Chauc. C. T. 2954.
"ride about" may be considered a transitive verb, having as its
object "fire." Naturally, emphatic forms of prepositions were
best suited for this emphatic place at the end of the sentence ; and
therefore, though " to," " tyll," " fro," " with," " by," "fore," were
thus transposed, yet the longer forms, "untylle," "before," "be-
hind," "upon," "again," were preferred. Hence in the Elizabethan
period, when the transposition of the weaker prepositions was not
allowed, except in the compound words "whereto," "herewith,"
&C. (compare "se-cum, quo-cum") the longer forms are still, though
rarely, transposed.
For this reason, "with," when transposed, is emphasized into
"withal." The prepositions "after," "before," and "upon," are
thus transposed by Shakespeare :
" God before."— Hen. V. i. 2. 307; iii. 6. I60, for "'fore God.''
" Hasten youi generals after." — A. and C. ii. 4. 2.
/38 SHAKESPEARIAN GRAMMAR,
--i
So ** I need not sing this them until (unto)." — Heyavood.
** For fear lest day should look their shames upon.'*'
M. N. D. iii. 2. 88R
•* I'hat bare-foot plod I the cold ground upon.'* — A. W. iii. 4. 6.
*' For my good will is to't,
And yours it is against." — Tempest, iii. i. 31.
The use of prepositions after the relative, which is now somewliat
avoided, but is very common in E. E,, is also common in Shake-
speare, and is evidently better adapted to the metre than the modem
idiom, as far as regards the longer forms. "Upon which" is not
so easily metricized as
" Ten thousand men that fishes gnawed upon.** — Rich. III. i. 4. 25.
"The pleasure that some fathers feed upon.** — Rich. II. ii. i. 79.
204. Prepositions transposed. "It stands me upon." This
phrase cannot be explained, though it is influenced, by the custom of
transposition. Almost inextricable confusion seems to have been
made by the Elizabethan authors between two distinct idioms : (i)
"it stands on" (adv.), or "at hand," or "upon" (comp. "instat,"
npoai^Kci), i.e. "it is of importance," "it concerns," "it is a matter
of duty ;" and (2) "I stand upon" (adj.), i.e. "I insist upon."
Tn (i) the full phrase would be, "it stands on, upon, to me,"
but, owing to the fact that " to me" or " me " {the dative inflection) is
tinemphatic, and " upon " is emphatic and often used at the ettd of the
sentence, the words were transposed into "it stands me upon."
"Me" was thus naturally mistaken for the object of upon.
Hence we have not only the correct form —
" It stands me (dative) much upon (adverb)
To stop all hopes." — Rich. III. iv. 2. 69.
(Sc Hamlet, v. 2. 63, where it means " it is imperative on me,")
But also the incorrect —
" It stands your grace upon to do him right."
Rich. II ii. 3. 138.
" It only stands
Oui lives upon to use our strongest hands." — A. and C.ii. I. 51.
where " grace" and " lives" are evidently intended to be the objects
of "upon," whereas the Shakespearian use of "me" (220) renders
it possible, though by no means probable, that " me," in the first oi
the above examples, was used as a kind of dative.
PRONOUNS. 139
Hence by analogy —
" It lies you on to speak." — Coriol. iii. 2. 52.
The fact that this use of upon in " stand upon " is not a mere
poetical transposition, but a remnant of an old idiom imperfectly
understood, may be inferred from the transposition occurring in
Elizabethan prose :
*' Sigismund sought now by all means {as it stood him upon) to
make himself as strong as he could." — Nares.
Perhaps this confusion has somewhat confused the meaning of the
personal verb " I stand on," It means ** I trust in " [M. W. of W.
ii. I. 242), "insist on" {Hen. V. v. 2. 93), and "I depend on"
{R. and J. ii. 2. 93), and in
** The moist star
Upon whose influence Neptune's empire stands. "
Hamlet, i. i. 119.
PRONOUNS.
205. Personal, Irregularities of (omission of, insertion of ,
see Relative and Ellipses)- The inflections of Personal Pro-
nouns are frequently neglected or misused. It is perhaps impossible
to trace a law in these irregularities. Sometimes, however, euphony
and emphasis may have successfully contended against grammar.
This may explain / in "and /," "but /," frequently used for me.
"'Tween you and /" seems to have been a regular Elizabethan
idiom. The sound of d and t before me was avoided. Foi
reasons of euphony also the ponderous thou is often ungrammatically
replaced by thee, or inconsistently by you. This is particularly the
case in questions and requests, where, the pronoun being especially
unemphatic, thou is especially objectionable. To this day many of the
Friends use thee invariably for thou, and in the Midland and North
of England we have " wilta?" for "wilt thou?" Compare E. E.
" wiltow?" for "wilt thou?" "Hnkestow?" for "thinkest thou?"
and similarly, in Shakespeare, thou is often omitted after a ques-
tioning verb. Again, since he and she could be used (see below)
for "man" and "woman," there was the less harshness in using
he for him and she for hei'. Where an objective pronoun is immedi-
ately followed by a finite verb, it is sometimes treated as the subject,
as below, " no man like he doth grieve."
140 SHAKESPEARIAN GRAMMAR.
206, He for him:
*' Which of he or Adrian, for a good wager, begins to crow ?"
t, ii. I. 28.
Seme commentators insert "them" after "which of." (See 408.)
" I would wish me only he^ — Coriol. i. i. 236.
" And yet no man like he doth grieve my heart."
R. and J. iii. 5. 8 4.
"From the first corse till he that died to-day." — Ham. i. 2. 104.
where "till" is a preposition. See PrepOSitionS, Till, 184,
207. He for him precedes its governing verb in the following
examples :
" Thus he that over-ruled I over-sway'd." — V. and A. 109.
" And he my husband best of all affects."— M W. of W. iv. 4, 37.
So probably he depends upon "within " in
" 'Tis better thee without than he within." — Macbeth, iii. 3. li.
208. Him for he.
Him is often put for "he," by attraction to "whom" understood,
for "he whom."
^^ Him (he whom) I accuse
By this the city ports hath enter'd." — Coriol. v. 6. 5.
" Ay, better than him (he whom) I am before knows me."
A. Y. L. i. i. 46.
" When him (whom) we serve's away." — A. and C. iii. i. 15.
" Your party in converse, him (whom) you would sound.
He closes with you," &c. — Hamlet, il i. 42.
Sometimes the relative is expressed :
" His brother and yours abide distracted — but chiefly him th^i
you term'd Gonzalo " — Temp. v. i. 14.
Sometimes he is omitted :
" Whom I serve above is my master." — A. W. ii. 3. 261,
** To (him to) whom it must be done." — J. C, ii. i. '661.
In " Damn'd be him,'' —Macbeth, v. 8. 34.
perhaps let, or some such word, was implied.
209. I for me (for euphony : see 205) :
" Here's none but thee and /."— 2 Hen. VI. \. 2. 69
" All debts are cleared between you and /." — M. of K iii. 2. 321.
PRONOUNS. \A,l
"You know my father hath no child but I.''— A. V. L. i. 2. 18.
" Unless you would devise some virtuous lie
And hang some praise upon deceased /. " — Sonn. 72.
The rhyme is an obvious explanation of the last example. But,
in all four, / is preceded by a dental.
So " Which may make this island
Thine own for ever, and /, thy Caliban,
For aye thy foot-licker. " — Tem^. iv. i. 217.
210. Me for I :
" No mightier than thyself or me.''— J. C. i. 3. 76.
"Is she as tall as me?" — A. and C. iii. 3. 14.
Probably than and as were used with a quasi-prepositional force.
211. She for her :
"Yes, you have seen Cassio and j/^^ together. " — 0. iv. 2. 8
*' So saucy with the hand of she here — what's her name ?"
A. and C. iii. 13. 93.
Shevi2& more often used for "woman" than "he" for "man."
Hence, perhaps, she seemed more like an uninflected noun than
"he " and we may thus extenuate the remarkable anomaly
" Praise him that got thee, she that gave thee suck."
Tr. and Cr. ii. 3. 252.
212. Thee for thou. Verbs followed by thee instead of thmi
have been called reflexive. But though "haste thee" and some
other phrases with verbs of motion, may be thus explained, and
verbs were often thus used in E. E., it is probable that " look thee"
"hark thee" are to be explained by euphonic reasons. Thet, thus
used, follows imperatives which, being themselves emphatic, require
an unemphatic pronoun. The Elizabethans reduced thou to thee.
We have gone further, and rejected it altogether. (See 205.)
' ' Blossom, speed thee well. " — W. T. iii. 3. 46.
" Look thee here, boy."— //J. 116.
"Run thee to the parlour." — M. Ado, iii. I. 1.
" Haste //i^d'. " — Lear,\. 3-251.
" Stand thee by, friar."— i^ Ado, iv. I. 24.
"Hark ^/f<'<?a word." — Cymb. i. 5. 32.
"Look thee, 'tis so."— Z". of A. iv. 3. 530.
" Come t/iee on." — A. and C. iv. 7. 16.
142 SHAKESPEARIAN GRAMMAR.
"Now, fellow, fare //^^^ well." — Lear, iv. 6. 41.
" Hold thee, there's my purse. " — A. W. iv. 5. 46; J. C. v. 3. 35.
"Take thee\h2X too." — Macbeth, ii. i. 5.
In the two latter instances thee is the dative.
Thee is probably the dative in
''^\:\x^%'i thee V— Hamlet, v. 2. 63.
or, at all events, there is, perhaps, confusion between " Thinks it
theeV i.e. "does it (E.E.) seem to thee?" and "thinkst thou .?" Very
likely "thinkst" is an abbreviation of "thinks it." (See 297.)
Compare the confusion in
" Where it thinkst best unto your royal selfe."
Rich. III. iii. I. 63 (Folio).
213. Thee for thou is also found after the verb to be, not
merely in the Fool's mouth :
"I would not be thee, nuncle." — Lear, i. 4. 204.
but also Timon :
" I am not thee." — T. of A. iv. 3. 277.
and Suffolk :
" It is thee I fear."— 2 Hen. VI iv. i. 117.
where thee is, perhaps, influenced by the verb, "I fear," so that
there is a confusion between "It is thou whom I fear" and " Thee
I fear." In these cases thee represents a person not regarded as
acting, but about whom something is predicated. Hence thou was,
perhaps, changed to thee according to the analogy of the sound of
he and she, which are used for "man" and " woman."
214. Them for they:
" Your safety, for the which myself and them
Bend their best studies." — K. J. iv. 2. 50.
Perhaps them is attracted by "myself," which naturally suggests
the objective "myself and (they) //z^w(selves)."
215. Us for we in "shall'j." "Shall" (315), originally mean-
ing necessity or obligation, and therefore not denoting an action on
the part of the subject, was used in the South of England as an
impersonal verb. (Compare Latin and Greek.) So Chaucer, "z/i
oughte," and we also find "as «j wol, "/.<?. "as it is pleasing to us.''
Hence in Shakespeare
PRONOUNS. 143
** Say, where shallV lay him?" — Cymb. iv. 2. 233.
"Shall'j have a play of this?"— /^. v. 5. 228.
"Shall'j attend you there?"— f^ T. i. 2. 178.
"Shall'j to the Capitol?"— C^r/^/. iv. 6. 148.
216. After a conjunction and before an infinitive we often find
/, thouy &c., where in Latin we should have "me," **te,"
&c. The conjunction seems to be regarded as introducing a new
sentence, instead of connecting one clause with another. Hence the
pronoun is put in the nominative, and a verb is, perhaps, to be
supplied from the context
"What he is indeed
More suits you to conceive than /(find it suitable) to speak of."
A. Y. L. i. 2. 279.
i.e. "than that I should speak of it."
"A heavier grief could not have been imposed
Than I to speak my griefs unspeakable." — C. of E. i. I. 33.
"The soft way which thou dost confess
' Were fit for thee to use as they to claim." — Coriol. iii. 2. 83.
" Making night hideous, and we fools of nature
So horridly to shake our disposition." — Hamlet, i. 4. 54.
"Heaven would that she these gifts should have,
And I io live and die her slave." — A. Y. L. iii. 2. 162.
Sometimes the infinitive is implied, but not expressed :
" To beg of thee it is my more dishonour
Than thou of them." — Coriol. iii. 2. 125.
/, thou, and he^ are also used for 7fie, thee, and him, when they
stivnd quasi-independently at some distance from the governing verb
or preposition.
"But what o' that? Your majesty and we that have free souls,
it touches us not. " — Hamlet, iii. 2. 252.
** I shall think the better of myself and thee during my life ; 2
for a valiant champion, ^.nd thou for a true prince." — i Hen. IV.
xl 4. 300.
" (God) make me that nothing have with nothing griev'd.
And thou with all pleas' d that hast all achieved. "
Rich. 11. iv. I. 217-
" With that same purpose-changer, that sly devil,
That daily break- vow, he that wins of all"— A'. J. ii, i. 668.
r44 SHAKESPEARIAN GRAMMAR.
"Now let me see the proudest,
He that dares most, but wag his finger at thee. "
Hen. VHI. v. 3. 131.
(To punctuate, as in the Globe, "the proudest /^^," is intolerably
harsh. )
"Justice, sweet prince, against that woman there.
She whom thou gavest to me to be my wife,
That hath abused and dishonour'd me," — C. of E. v. I. 198.
" Why, Hariy, do I tell thee of my foes
Which art my near'st and dearest enemy,
Thou that art like enough," &c.?— i Hen. IV. iii. 2, 123
217. His was sometimes used, by mistake, for 'j, the sign of the
possessive case, particularly after a proper name, and with especial
frequency when the name ends in s. This mistake arose in very
early times. The possessive inflection V (like the dative plural
inflection urn) was separated by scribes from its noun. Hence after
the feminine name " Guinivere," we have in the later text of Laya-
MON, ii. 511, "for Gwenayfer his love." The h is no more a
necessary part of this separate inflection than it is of "his," the
third pers. sing, indie, pres. of "beon" ("be"). " His" is con-
stantly found for "is" in Layamon. No doubt the coincidence in
sound between the inflection 'j and the possessive "his" made the
separation seem more natural, and eventually confused 'j with his.
" Mars his sword . . . nor Neptune's trident nor Apollo's bow "
B. J. Cy.'s Rev. \. i.
Also, by analogy,
" Pallas her glass."— Bacon, Adv. of L. 278.
This is more common with monosyllables than with dissyllables,
as the 'j in a dissyllable is necessarily almost mute. Thus
" The count >^w-gallies."—7: N. iii. 3. 26.
" Mars his true moving." — i Hen. VI. i. 2. 1.
So Tr. and Cr. iv. 5. 176, 255, &c.
" Charles /^/jgleeks."—! Hen. VI. iii. 2. 123.
but never, or very rarely, " Phoebus his.^^
The possessive inflection in dissyllables ending in a sibilant sound
is often expressed neither in writing nor in pronunciation.
** Marry, my uncle Clarence (Folio) angry ghost."
Rich. Ill iii. I. 144: ii. I, 137.
PRONOUNS. 145
" For y«J//r^ sake. "—y. C. iv, 3. 19.
"At every j-m/^//r<? end. " — A. V. L. iii. 2. 144.
"Lewis" is a monosyllable in
"King Lewis his satisfaction all appear." — Hen. V. .. 2. 88.
His is used like "hie" (in the antithesis between "hie . . . ille ").
" Desire his (this one's) jewels and this other's house."*
Macb. iv. 3. ^Q ', M. of V. iii. 2. 54-5 ; Sonn. xxix. 5, 6.
This explains
" And, at our stamp, here o'er and o'er one falls :
He murder cries, and help from Athens calls."
M. N. D. iii. I. 25.
///j, being the old genitive of it, is almost always used for its.
218. His, her, &c. being the genitives of he, she {she in E. E.
had, as one form of the nom., " heo," gen. "hire"), &c. may stand
as the antecedent of a relative. Thus :
" In his way that comes in triumph over Pompey's blood. "
J. C. i. I. 55.
i.e. "in the way 0/ him that comes."
" Love make his heart of flint that you shall love." — T. N. i. 5. 305.
" Unless //^r prayers whom heaven delights to hear." — A. ^^ iii. 4. 27.
" If you had known . . . her worthiness that gave the ring."
M. of V. v. I. 200.
"Armies of pestilence, and they shall strike
Your children yet unborn and unbegot
That hft your vassal hands against my head. "
Rich. II. iii. 2. 89.
i,e. "the children of you who lift your hands."
"Upon their woes whom fortune captivates."
Zllen. VI. i. 4. 115. So Lear, v. 3. 2.
" And turn our impress'd lances in our eyes
Which do command them." — Lear, v. 3. 50.
In " Alas, their love may be call'd appetite,
No motion of the liver, but the palate.
That suffer surfeit, cloyment and revolt," — T. N. ii. 4. 100-2,
it seems better to take that as the relative to "them," implied in
"their (of them)," rather than to suppose "suffer" to be the sub-
junctive singular (367), or that to be the relative to "liver" and
"palate" by confusion. It is true that is not often so far from its
antecedent, but the second line may be treated as parenthetical.
* " Condemning some to death, and some to exile ;
Ransoming hirn, or pitying, threatening the other."— OnW. L d. 36
L
S46 SHAKESPEARIAN GRAMMAR.
This is perhaps not common in modern poetry, but it sometimes
occuis :
" Poor is our sacrifice whose eyes
Are lighted from above." — Newman.
219. Your, our, their, &c., are often used in their old signi-
fication, as genitives, where we should use ** oi you,^'' &c
" We render you (Coriolanus) the tenth to be ta'en forth
At . . . your only choice." — Coriol. i. 9. 36.
i.e. '* a.t the choice 0/ you alone."
"To all our lamentation." — Coriol. iv. 6. 34.
i.e. " to the lamentation 0/ us all."
*' Have I not all their letters to meet me in arms ?"
I Hen. IV. ii. 3. 28.
i.e. " \e\X.cx% from them all."
220. Me, thee, him, &c. are often used, in virtue of their
representing the old dative, where we should use for me, by me, &c.
Thus:
" I am appointed (by) him to murder you." — W. T. i. 2. 412.
"John lays^j/^w plots." — K. f. iii. 4. 145.
This is especially common with ine.
Me is indirect object in
" But hear me this."— 21 N. v. i. 123.
" What thou hast promis'd — which is not yet perform'd me."
Tempest, i. 2. 244.
We say "do me a favour," but not "to do me business,"—
Tempest, i. 2. 255.
" Give me your present to one Master Bassanio."
M. of V. ii. 2. 115.
" Who does me \X\\%1"— Hamlet, ii. 2. 601.
"Sayest thou me sol" — 2 Heju VI. ii. i. 109.
Me seems to mean "from me " in
'* You'll bear me a bang for that."— y. C. iii. 2. 20.
" with me" in
"And hold vie pace in deep experiment." — i Hen. IV. iii I. 48.
Me means " to my injury" in
" See how this river comes me cranking in,
And cuts me, from the best of all my land,
A huge half-moon." — i Hen. IV. iii. I. 100.
" z.\ my cost" and " for my benefit" in
" The sack that thou hast drunk me could have bought rrn lights
*^
PRONOUNS. 147
as good cheap at the dearest chandler's in Europe." — i lien. IV,
iii. 3. 50.
Me in narrative stands on a somewhat different footing :
" He pluck'd me ope his doublet."— y. C. i. 2. 270.
"He steps me to her trencher." — T, G. of V. iv. 4. 9.
** The skilful shepherd peel'd me certain wands."
Af. of V. i. 3. 85.
** He presently, as greatness knows itself,
Steps me a little higher than his vow." — i Hen. IV. iv. 3. 75.
Falstaff, when particularly desirous of securing the attention of
the Prince (**Dost thou hear rae, Hal?"), indulges twice in this
use of me.
** I made me no more ado, ... I followed me close."
I Hen. IV. ii. 4. 233, 241.
Here, however, the verbs are perhaps used reflexively, though
this would seem to be caused by the speaker's intense desire to call
attention to himself. So in
" Observe me judicially, sweet sir ; they had planted me three
demi-culverins," — B. J. E. in (s'c. iii. 2.
the me seems to appropriate the narrative of the action to the
speaker, and to be equivalent to "mark me" "/tell you." Is
such phrases as
"Knock w^here," — T. of Sh. \. 2. 8.
the action, and not merely the narrative of the action, is appro-
priated.
You is similarly used for ** look you :"
" And 'a would manage you his piece thus, and come you in
and come you out." — 2 Hen, IV. iiu 2. 304.
In *' Study me how to please the eye indeed
By fixing it upon a fairer eye," — Z. Z. Z. i. I. 80.
OT<f probably means "for me," " by my advice," i.e. "/w^ould have
you study thus." Less probably, " study" may be an active verl,
of which the passive is found in Macb. i. 4. 9.
There is a redundant him in
"The king, by this, is set him down to sleep. "-3 ZT^w, VI. iv, 3. 2.
where there is, perhaps, a confusion between "has set him(s€lf)
down" and "is set down."
Her seems used for " of her," " at her hands," in
"I took her leave at court" — A. W w 2t 'i^'
I.e. "I bade her farewell."
L 2
HS SHAKESPEARIAN GR A MM AIL
Us probably is used for " to us'' in
" She looks us like
A thing made more of malice than of duty. "— C/^w-^, iii, 5. 32.
But possibly as "look" in Hen. V. iv. 7. 76, A. and C. iii. 10. 53,
IS used for " look for," so it may mean '* look at." So
"Twa brooks in which I look myself." — B, J. Sad Sh. ii. i,
i.e. "I view myself"
Us seems equivalent to "for us" in
" We have not spoke us yet of torch-bearers."
M. of V. ii. 4. 5.
i.e. "spoken for ourselves about torch-bearers."
221. Your, like "me" above (Latin, iste\ is used to appropriate
an object to a person addressed. Lepidus says to Antony :
" Your serpent of Egypt is lord now oi your mud by the operation
oi your sun : so '\%your crocodile." — A. and C. ii. 7. 29.
Though in this instance the your may seem literally justified, the
repetition of it indicates a colloquial vulgarity which suits tlie
character of Lepidus. So Hamlet, affecting madness :
" Your worm is your only emperor for diet y your fat king and
your lean beggar is but variable service." — Hamlet, iv. 3. 24.
Compare
" But he could read and had jt?«r languages." — B, J. Fox, ii. i.
i.e. " the languages which you know are considered important."
So : "I would teach these nineteen the special rules, as your
punto, your reverso, your stoccata, your imbroccato, your passada,
your montanto. " — Bobadil, in B. J. E. in ^c. iv. 5.
Hence the apparent rudeness of Hamlet is explained when he
says to the player :
" But if you mouth it as many oiyour players do." — Ham.'m. 2. 3.
i.e. "the players whom you and everybody know."
222. Our is used, like " my," vocatively :
" Otir very loving sister, well be-met." — Lear, v. i. 20.
" Tongue-tied our queen, speak thou." — W. T. i. I. 27.
" Our old and faithful friend, we are glad to see you."
M. for M. V. I. -2.
In all these cases our is used in the royal style, for "my," by a
gingle speaker referring merely to himself.
PRONOUNS. 149
223. Him, her, me, them, &c. are often used in Elizabethan,
and still more often in Early English, for himself, herself, &c.
" How she opposes her (sets herself) against my will."
T. G. of V. iii. 2. 26.
" My heart hath one poor string to stay it by." — K. J. v. 7. ho.
" And so I say I'll cut the causes off
Flattering Wi? with' impossibilities." — iHen. VI. iii. 2. 143.
224. lie and she are used for " man" and *' woman."
" And that he
Who casts to write a living line must sweat."
B. J. on Shakespeare.
" I'll bring mine action on the proudest he
That stops my way in Padua." — T. of Sh. iii. 2. 236.
** Lady, you are the cruellest she alive." — 7! N. i. 5. 259.
" I think my love as rare
As any she belied with false compare." — Sonn. 130.
" That she belov'd knows nought that knows not this."
Tr. and Cr. i. 2. 314.
" With his princess, she
The fairest I have yet beheld."— f^. T. y. i. 86.
" Betwixt two such shes.'' — Cymb. i. 6. 40 ; ib. i. 3. 29.*
This makes more natural the use of "he that," with the third
person of the verb, in
"Are not you he
That frights the maidens?"— J/. N. D. ii. I. 34.
So A. V. L. iii. 2. 411.
225. Pronoun for pronominal adjective. The pronominal
adjectives his, their, being originally possessive inflections of he,
they, &c,, were generally used in E. E. possessively or subjectively,
i.e. ** his wrongs " would naturally mean then *' the wrongs done by
him," not "to him." Hence, for objective genitives, "of" was
frequently introduced, a usage which sometimes extended to sub-
jective genitives. Hence
" The kindred of him hath been flesh'd upon us." — Hen. V. ii. 4. 50.
"Tell thou the lamentable tale of me." — Rich. II. v. I. 44.
"The native mightiness and fate of him." — Hen. V. ii. 4. 64
"Against the face of them." — Psalm xxi. 12.
• Hence a " larty-fA^," W. T, i. 2. 44, means " a well-born woman."
150 SHAKESPEARIAN GRAMMAR.
It is used, perhaps, for antithesis in
** Let her be made
As miserable by the death of him
As I am made by my poor lord and thee."
Rich. III. i. 2. 21.
** O world, thou wast the forest to this heart,
And this indeed, O world, the heart of thee.''^
J. C. iii. I. 208.
226. It is sometimes used indefinitely, as the object of a verb,
without referring to anything previously mentioned, and seems to
indicate a pre-existing object in the mind of the person spoken of.
" Courage, father, fight // out." — 3 Hen. VI. i. 4. 10.
i.e. "the battle."
** Ber. She never saw it.
King. Thou speak'st it falsely."—^. W. v. 3. 113.
i.e. ** what thou sayest."
"Dangerous peer,
That smooth'st it so with king and commonweal. "
2 Hen. VI. ii. i. 22.
where it = " matters."
' ' To revel // with him and his new bride." (So C. of E. iv. 4. QQ. )
—3 Hen. VI iii. 3. 225.
i.e. " to take part in the intended bridal revels."
" I- cannot daub // further." — lear, iv. i. 54.
i.e. " continue my former dissembling."
But // is often added to nouns or words that are not generally
used as verbs, in order to give them the force of verbs.
'' Foot it."— Tempest, i. 2. 380.
*'Toyueenit."—Hen. VIII ii. 3. 37.
''To prince it."— Cymb. iii. 3. 85.
" Lord Angelo dukes it well." — M. for M. iii. 2. 100.
And, later,
' • Whether the charmer sinner it or saint it.
If folly grow romantic, I must paint it. "
Pope, Moral Essays., ii. 15.
The use of // with verbs is now only found in slang phrase*.
PRONOUNS. 151
227. It is sometimes more emphatically used than with ns. We
have come to use it so often superfluously before verbs that the
Emphatic use of ii for "that" before *' which" is lost.
"There was it
For which my sinews shall be stretched upon him. "
Coriol. V. 6. 4t.
** That's it that always makes a good voyage of nothing."
T. N. ii. 4. 80.
" An if it please me which thou speak'st." — T. A. v. i. .'59.
" // holds current that I told you of."— i Hen. IV. ii. i. 59;
So Isaiah (A. V.) Ii. 9 : " Art thou not it that hath cut Rahab?"
Perhaps we must explain it as the antecedent of " what" (and not
as in 226) in
** Deign //, Goddess, from my hand
To receive whatever this land
From her fertile womb doth send." — B. and F. Fair Sh. i. i.
228. Its was not used originally in the Authorized Version of the
Bible, and is said to have been rarely used in Shakespeare's time.
It is, however, very common in Florio's Montaigne. His still
represented the genitive of // as well as of He. Its is found, how-
ever, in M. for M. i. 2. 4, where it is emphatic ; in IV. T.i. 2 (three
times, 151, 152, 266) ; Hen. VIII. i. i. 18 ; Lear, iv. 2. 32, and else-
where. Occasionally it, an early provincial form of the old genitive,
is found for its, especially when a child is mentioned, or when any
one is contemptuously spoken of as a child. Ben Jonson [Sil. Wem.
ii. 3) uses both forms — ,
" Your knighthood shall come on its knees."
And then, a few lines lower down —
" It knighthood shall fight all it friends. "
Comp. W. T. iii. 2. 109 :
" The innocent milk in it most innocent mouth."
" The hedge-sparrow fed the cuckoo so long,
That it's had it head bit off by it young." — Lear^ i. 4, 235.
But also of an unknown person :
** The corse they follow did with desperate hand
Fordo A^ own life. " — (Folio.) Hamkt, v. 1.245.
"Woman //pretty self."— (Folio.) Cymb. iii. 4. 160.
1^2 SHAKESPEARIAN GRAMMAR.
And of the ^host :
" It lifted up it head."— (Folio.) Hamlet, i. 2. 216.
Perhaps the dislike of its, even in the eighteenth century, aidal
the adoption of the French idiom ** lever la tete."
"Where London's column, pointing at the skies,
Like a tall bully lifts /^^.head and lies."
PoPE^ Moral Essays, iii. 340.
'• //-sclfe " is found referring to " who." (See 264. )
" The world who of /V-selfe is peised well." — K. J, ii. i. 575.
229. Her is very often applied by Shakespeare to the mind and
soul.
"Whose soul is that which takes her heavy leave ?"
3 Hen. VI. ii. 6. 42.
" Since my dear soul was mistress of her choice."
Hamlet, iii. 2. 68.
So Rich. III. iii. 5. 28 ; Hamlet, ii. 2. 580.
** Our mind partakes
Her private actions to your secrecy. " — P. of T. i. I. 153.
So Montaigne, 117.
The former passage from Hamlet shows the reason of this. The
soul, when personified, is regarded as feminine, like Psyche. The
body of a woman is also thus personified in
' * And made thy body bare
Oi her two branches, those sweet ornaments." — 7! A. ii. 4. 18-.
Milton occasionally uses its ; often her for its ; seldom^ if ever,,
his for its.
*' His form had not yet lost
All >^^r original brightness." — Milton, P. L. i. 59I2.
In this, and some other passages, but not in all, Milton may have
been influenced by the Latin use of the feminine gender. " Form "
represents "fonna," a feminine Latin noun.
Personification will explain
" That Tiber trembled underneath her banks."
y. C. X. I. 50.
230. Ungrammatical remnants of ancient usage, in
Chaucer and earlier writers, preference is expressed, not by our
modern "I had, or woiild, rather {i.e. soonei)," but by "(To) me
PRONOUNS. 153
(it) were lever (Geraian lieber),^^ t.e. "more pleasant." These two
id'oms are confused in the following example :
** Me rather had my heart might feel your love. "
Rich. II. iii. 3. 192.'
In the earliest writers "woe !" is found joined with the dative
inflection of the pronoun, "woe is (to) us," "woe is (to) me."'
** Wa worthe (betide) tha7t monne (the man, dat. )•"
Layamon, i. 142.'
As early as Chaucer, and probably earlier, the sense of the
inflection was weakened, and "woe" was used as a predicate : "I
am woe," " we are woe," &c. Hence Shakespeare uses "sorrow "
thus. Similarly our "I am well" is, perhaps, an ungrammatical
modification of "well is me," /'j. cxxviii. 2 (Prayer-book). In
Early English both constructions are found. In Anglo-Saxon,
Matzner "has only met with the dative construction."
*^ I am sorrow for thee." — Cymb. v. 5. 297.
'' I am woe iox% &\T."—Temp. v. i. 139.
" Woe is my heart.'^ — Cymb. v. 5,. 2.
" Woe, woe are we, sir." — A. and C. iv. 14. 133.
Gn the other hand,
" Woe is me.^^ — Hamlet, iii. I. 168.
" Woe me.''— M. for M. i. 4. 26.
Similarly, the old "(to) me (it) were better," being misunderstood,
was sometimes replaced by " I were better."
*^ I were better to be eaten to death." — 2 Hen. IV. i. 2. 245.
"I 7vere best to leave him." — i Hen. VI. v. 3. 82.
"Poor lady, she wei-e better love a dream." — T. N. i. 2. 27.
" Thou' rt best.''— Tempest, i. 2. 366.
And when the old idiom is retained, it is generally in instances like
the following:
" Answer truly, you ivere best." — J. C. iii. 3. 15.
" Madam, _j/(7«V^ /5^j^ consider. " — Cymb. iii. 2. 79.
where you may represent either nominative or dative, but v/as
almost certainly used by Shakespeare as nominative.
231. Thou and You* Thou, in Shakespeare's time was, ver^
much like "du" now among the Germans, the pronoun of (i)
• Ihe Elizabethan distinction between /A^??/ and >'<?« is remarkably illustrated
by the usage in E. E., as detailed by Mr. Skeatin William ofPalerne, Preface,
p. xli.
154 SHAKESPEARIAN' GRAMMAR.
affecvion towards friends (2) good-humoured superiority to servants,
and (3) contempt or anger to strangers. It had, however, already
fallen somewhat into disuse, and, being regarded as archaic, was
naturally adopted (4) in the higher poetic style and in the language
of solemn prayer.
(i) This is so common as to need no examples. It should be
remarked, however, that this use is modified sometimes by euphony
(the ponderous thou, art, and terminations in est being avoided) and
sometimes by fluctuations of feeling. Thus in the T. G. of V.
Valentine and Proteus in the first twenty lines of earnest dialogue
use nothing but thou. But as soon as they begin to jest, "thou
art" is found too seriously ponderous, and we have (i. i. 25) ^* you
are over boots in love," while the lighter thee is not discarded
in (i. I. 28) "it boots thee not." So in the word-fencing of lines
36-40, you and yottr are preferred, but an affectionate farewell brings
them back again to tJiou. The last line presents an apparent
difficulty :
" Proteus. All happiness bechance to thee in Milan !
Valentine. As much to you at home, and so farewell. "
T. G.ofV. i. I. 61-2.
But while thee applies to the single traveller, you is better suited
to Proteus and his friends at home. It may be added, that when the
friends meet after their long parting, there is a certain coldness in
the frequent j^^^. {T. G. of V. ii. 5. 120.)
Fathers almost always address their sons with thou; sons their
fathers with you. Thus in the dialogue between Henry IV. and the
Prince (i Hen. IV. iii. 2), line 118, "What ^y youV is perhaps
the only exception to the rule. So in the dialogue between
Talbot and his son (i Hen. VI. iv. 5) before the battle. In the ex-
citement of the battle (i Hen. VI. iv. 6. 6-9) the son addresses his
father as thoti: but such instances are very rare. {A. Y. L. ii. 3. 69
is a rhyming passage, and impassioned also.) A wife may vary
between thou and you when addressing her husband. Lady Percy
addresses Hotspur almost always in dialogue with you : but in the
higher style of earnest appeal in i Hen. IV. ii. 3. 43-67, and in the
familiar "I'll break thy little finger, Harry," ib. 90, she uses thou
throughout.
In the high Roman style, Brutus and Portia ^xBQyou.
Hotspur generally uses thoii to his wife, but, when he becomes
serious, rises to you, dropping again to thoit.
PRONOUNS. 155
" Hotspur. Come, wilt thou spp me ride?
And when I am o' horse-back, I will swear
I love thee infinitely But hark you, Kate ; ,
I must not have you henceforth question me :
This evening must I leave you, gentle Kate.
I knowjj'(?« wise > but yet no further wise
Than Harry Percy's wife: constant j^« are,
But yet a woman : and for secrecy
No lady closer For I well believe
TIwu wilt not utter what thou dost not know ;
And so far will I trust thee^ gentle Kate."
I Heii. IV. ii. 3. 103-115.
Mark the change of pronoun as Bassanio assumes the part of a
friendly lecturer :
' * Gra. I have a suit to you.
Bass. You liave obtain'd it.
Gra. You must not deny me ; I must go with you to Belmont.
Bass. Why, then you must. — But hear thee, Gratiano ;
Thou art too wild, too rude and bold of voice," &c.
M. of V. ii. 2. 187-90.
232. Thou is generally used by a master to a servant, but not
always. Being the appropriate address to a servant, it is used ia
confidential and good-humoured utterances, but a master finding
fault often resorts to the unfamiliar you (much as Caesar cut his
soldiers to the heart by giving them the respectful title of Quirites).
Thus Valentine uses you to Speed in T. G. of V. \i. i. 1-17, and
thou, lb. 47-69. Compare
** Val. Go to, sir: tell me, ^o you know madam Silvia?" — lb. 14.
with
" Val. But tell me : dost thou know my lady Silvia ?" — lb. 44,
Similarly to the newly-engaged servant Julia, who says "I'll do
vhat I can," Proteus blandly replies :
* * I hope thou wilt. [To Launce. ] How now, you whore-
son peasant.
Where have you been these two days loitering?"
T. G. of V. iv. 4. 48.
When the appellative " sir " is used, even in anger, thou generally
gives place to yoti.
"And what wilt t/wu do ? Beg, when that is spent?
Well, sir, get you in."— ^. Y. L. i. i. 79. 80.
150 SHAKESPEARTAN GRAMMAR.
** Ay, ay, than wouldst begone to join with Richmond :
I will not ixw.'iX you, sir." — Rich. III. iv. 4. 492.
Compare "Speak, what tra.ie art thouV^ — y. C. i. i. 5.
with *' You, j-/r, what trade are jj/^«.?" — lb. 'd.
This explains the change from thou to you in Tempest, i. 2. 443.
Throughout the scene Prospero, addressing Ferdinand as an im-
postor, "speaks ungently" with thou. In Tempest, v. i. 75-79
Prospero, who has addressed the worthy Gonzalo in the friendly
thou, and the repentant Alonso in the impassioned tliou, turning: to
his unnatural brother says,.
" Flesh and blood
You brother mine"
but, on pronouncing his forgiveness immediately afterwards, he says,
"I do forgive thee,
Unnatural though thou art."
So * ' P or yoti, most wicked sir, whom to call brother
Would even, infect my mouth). I do forgive
7%j/ rankest fault," — Tempest, v. i. 230-2.
" Worthy j/r, thouh\eQ^'?,i."—Coriol. i. 5. 15.
1-5 easily explained by the admiring epithet "worthy." Compare
lb. 2.4: " Bold gentleman, prosperity be //i)/ page."
The difference between thou and you is well illustrated by the
farewell addressed by Brutus to his schoolfellow Volumnius, and his
servant Strato :
"Farewell to jj/<?«; 2cad.you; and you, Volumnius;
Farewell to thee, too, Strato."— ^7: C. v. 5. 33.
Compare also the farewell between the noble Gloucester and Edgar
" dressed like a peasant :"
** Edg. Now fare you well, good sir." — Lear, iv. 6. 32.
" Glouc. l<!ow, felloza, fzre thee well"— 3. 41.
It may seem an exception that in. so. iv. i, Edgar uses thou to
Gloucester, but this is only because he is in the height of his assumed
madness, and cannot be supposed to distinguish persons. After-
wards, in sc. vi. , he invariably uses you — a change which, together
with other changes in his language, makes Gloucester say :
" Thou speak'st
In better phrase and manner than thou didst. " — Lear, iv. 6, 8.
It may be partly this increased respect for Edgar, and partly
euphony, which makes Gloucester use you in //. 10 and 24.
PRONOUNS. rS7
Thus Clarence to the Second Murderer :
•* Clar. Where art thou, keeper? Give mt a cup of wine.
Sec. Murd. You shall have wine enough, my lord, anon.
Clar. In God's name, what art thou ?
Sec. Murd. A man, asjw< arc.
Clar. How darkly and how deadly dost thott speak!
Your eyes do menace me : why look you pale ?
Who sent you hither ? Wherefore do yott come ? "
Rich. III. i. 4. 167-176.
The last two Unes seem discrepant : but they are not. Clarence
is addressing both murderers, and both reply :
''Both. To, to, to
Clar. To murder me ?
Both. Ay, ay."
Afterwards, when the murderers reproach Clarence with his faults,
they address him as thou.
233. Thou towards strangers who were not inferiors was an
insult. "If thou thouest him some thrice, it shall not be amiss,"
[T. N. iii. 2. 48,) is the advice given to Sir Andrew Aguecheek
when on the point of writing a challenge.
In addressing Angelo, whose seat he occupies, the Duke in the
following passage begins with ironical politeness, but passes into
open contempt :
" Duke (to Escalus). Whziyou have spoke I pardon ; sit you down ;
We'll borrow place of him. (To Angelo.) Sir, by jdJwr leave.
Hast thou or word or wit or impudence,
That now can do thee office T'—M. for M. v. i. 368.
Thou is also used in a contemptuous ** aside."
** Hastings. 'Tis like enough for I stay dinner there.
Buckingham (aside). And supper too, although thou know'st
it not.
Come, v^SSS. you goV — Rich. III. iii. 2. 122.
And, where there is no contempt, Cassius passes into thou when he
addresses Brutus absent, whereas in his presence he restricts him-
self to you {J. C. i. 2. 312). The former is the rhetorical, the
latter the conversational pronoun. So
" Be thoti my witness.
You know that I held Epicurus strong." — J. C. v. i. 74-7.
This explains the apparent liberty in
**0 wise young judge, how I do honour thee I "
M. of V. iv, I. 22'i.
158 SHAKESPEARIAN GRAMMAR.
234. Thou is often used in statements and requests, while you
is used in conditional and other sentences where there is no direct
appeal to the person addressed. Similarly the somewhat archaic
ye is distingiAished by Shakespeare from you by being used in
rhetorical appeals. (See Ye, 236. )
Come thou on my side, and entreat for me
As you would beg, were you in my distress."
Rich. III. i. 4. 273.
" But tell me now
My drown'd queen's name, as in the rest you said
Thou hast been god-like perfect."— P. of T. v. i. 208.
*' I go, and if you plead as well to them
As I can say nay to thee for myself." — Rich. III. iii. 7. 52.
*' Give me thy hand, Messala;
Be thou my witness that against my will, &c.
You know that I held Epicurus strong," — J. C v. i. 74-7.
235. Thou. Apparent exceptions.
** If he be leaden, icy-cold, unwilling,
Be thou so too, and so break o^ your talk."
Rich. in. iii. I. 177.
Here ^' your talk" means the talk between " thee and him."
In Hamlet, i. 2. 41-49, the King, as he rises in his profession of
affection to Laertes, passes from you to thou, subsequently returning,
to you.
In the following instance a kiss induces the speaker to pass from
your to thou :
** Goiuril. Decline j(7i^r head, (i^w-j^jj Edmund. } This kiss,
if it durst speak.
Would raise thy spirits up into the air." — lear^ It. 2. 23.
The most difhcult passage is :
"li thou beest not immortal, look ahoMiyou." — J. C. ii. 3. 8, 9.
In this short scene Csesar is six times addressed by the soothsayer
in the solemn and prophetic thou and thee, but once, as above, you.
I can only suggest that " look about you" may mean "look about
you and your friends."
In almost all eases where thou and you appear at first sight
indiscriminately used, further considerations show some change
of thought, or some influence of euphony sufficient to account for
the change of pronoun.
PRONOUNS. ISO
The French Herald addresses Henry V. as thou, not for dis-
cciutesy (//<'«. V. iv. 7. 74), but in the "high style" appropriate
between heralds and monarchs. Few subjects would address their
lords as thou. Only a Caliban addressing his Stephano would in
the ordinary language say :
** Good my lord, give me thy favour still." — Tefnp. iv. i. 204.
Caliban almost always thou^s unless he is cursing {Tevip. i. 2. 363),
or when he is addressing more than one person.
236. Ye. In the original form of the language ^^ is nominative,
you accusative. This distinction, however, though observed in our
version of the Bible, was disregarded by Elizabethan authors, and
ye seems to be generally used in questions, entreaties, and rhetorical
appeals. Ben Jonson says : " The second person plural is for reve»
rence sake to some singular thing. " He quotes —
" O good father dear,
Why make ye this heavy cheer ? " — Gower.
Compare :
" I do beseech ;>/(?, if you bear me hard." — J. C. iii. I. 167.
^^You taught me how to know the face of right,
And come ye now to tell me John hath made
His peace with Rome?" — K. J. v. 2. &1.
"The more shame iox ye; holy men I thought ^^."
Hen. VI n. iii. i, 102.
" Therein, ye gods, you make the weak most strong. "
J. C. i. 3. 91.
** I' the name of truth,
Are ye fantastical ? . . . My noble partner
You greet with present grace." — Macbeth^ i. 3. 53-55.
Ye Siiid your seem used indiscriminately in Te^i/>. v. i. 33-8, " Ye
elves . . . and ye that . . . you demi-puppets . . . and you whose
pastime is, &c"
The confusion between you and ye is illustrated by the irregularity
of the following :
"What mean you . . . do ye not know? ... If, therefore, at the
first sight ye doe give them to understand that you are come hither
. . . do you not think? Therefore, if you looke . . ." — N. F. 170.
Sometimes ye seems put for you when an unaccented syllable is
wanted :
"I never loved ;>'^ much ; but I ha' j>ra,is'dye."
A. and C. il 6 78.
i6o SHAKESPEARIAN GRAMMAR.
and perhaps in
** K? shall, my lord,"— 7^/r//. ///. iv. 2. 86.
the "shall" being emphatic, and ye miemphatic, but the Folio
varies here, as frequently in this play.
237. Mine, my. Thine, thy. The two forms, which are inter*
changeable in E. E. both before vowels and consonants, are both
used by Shakespeare with little distinction before vowels.
Though there are probably many exceptions, yet the rule appears
to be that mijie and thine are used where the possessive adjective is
to be unemphatic, my and thy in other cases.
Mine is thus used before words to which it is so frequently pre-
iixed as to become almost a part of them, as ^^ mine host" {M. JV.
of JV. i. 3. 1), but 7)iy in the less common
*' Unto my hostess of the tavern," — i Hen. IV. i. 2. 53.
So we have almost always " mine honour," the emphatic
" By my honour
He shall depart untouched," — J. C. iii. i. 141.
being an exception. Mine is almost always found before "eye,''
" ear," &c. where no emphasis is intended. But where there is
antithesis we have my, thy:
"My ear should catch your voice, viy eye your eye."
M. N. D. i. I. 188.
and also in the emphatic
" To follow me and praise my eyes and face." — M. N. D. iii. 2. 223.
Euphony would dictate this distinction. The i)ause which we are
obliged to make between my, thy, and a following vowel, serves for
a kind of emphasis. On the other hand, mitte, pronounced "min,"
glides easily and unemphatically on to the following vowel.
238. Mine, hers, theirs, are used as pronominal adjectives
before their nouns. That mi7ie should be thus used is not remarkable,
as in E. E. it was interchangeable with my, and is often used by
Shakespeare where we should use my.
" Mine and my father's death come not upon thee."
Hamlet, v. 2. 341.
** The body is dead upon mine and my master's false accusation."
—M. Ado, v. I. 249. ^o P. cf T. i. 2. 92 ; Cy?nl). v. 5. 230,
PRONOUNS. i6i
In the following, mine is only separated by an adjective from its
noun : "And his and mine lov'd darling." — Tempest, iii. 3. 93.
More remarkable are
" What to come \s, yours and my discharge." — Temp. ii. i. 263.
** By hers and mine adultery." — Cymb. v. 5. 186.
* Even in theirs and in the commons' ears." — Coriol. v. 6. 4.
It is felt that the ear cannot wait till the end of the sentence
while so slight a word as her or their remains with nothing to depend
on. The same explanation applies to mine, which, though unem-
phatic immediately before its noun, is emphatic when separated
from its noun.
239, This of yours is now, as in E. E., generally applied to
one out of a class, whether the class exist or be imaginary. We
could say "this coat of yours," but not (except colloquially) "this
head of yours." It is, however, commonly used by Shakespeare
where even the conception of a class is impossible.
" Nor scar that whiter skin of hers than snow." — Othello, v. 2. 4.
" Will not a calf-skin stop that mo\^\ki of thine T—K. J. iii. I. 299.
"This of hers, thine," &c. seem used as an adjective, like the
Latin "iste." "This mouth of you" was felt to be harsh, the
"you" being too weak to stand in such a position. "This your
mouth" requiring a forced and unnatural pause after "this," was
somewhat more objectionable to Shakespeare,* than to the Latin
style of Milton and Addison. Hence "this of you" was used but
modified. It is rare that we find such a transposition as
* O then advance of yours that phraseless hand." — Z. C. 225.
240. Pronouns transposed. A feeling of the unemphatic
nature of the nominatives we and they prevents us from saying
"all we."
" Into the madness wherein now he raves
And a// w^ mourn for. " — Hamlet, ii. 2. 151. '
So "all we " in the A. V. of the Bible, and "all they," Mark xii. 44.
"Find out" is treated as a single word in
" Cass. Cinna, where haste you so ?
Cinna. To find-out ^oVi.^^ — y. C. i. 3. 134.
• See, however — ** How many ages hence
Shall this our lofty scene be acted over I " — % C. ii. i. 1 12.
M
i62 SHAKESPEARIAN GR AMMAR,
So ** To bekh-up yo\x.''— Tempest, iii. 3. 56.
'' An^i ieave-out XhtQ."— Rich. III. i. 3. 216.
''Both they {i.e. both of them)
Match not the high perfection of my loss." — lb. iv. 4. 65.
No modern poet would be allowed to write, far the sake of rhyme,
" All days are nights to see till I see thee,
And nights bright days when dreams do show thee me.^'
Sonn. 43.
We could only say "give him me," when we meant "give him,
not to so-and-so, but to ;/z^," emphatically, which is not the meaning
here.
241. Omission of Thou. (See also 399, 402.) After a verb
ending with the second person singular inflection, the thou is some-
times omitted in questions, as :
**Z>/^j/not mark that?"— O^/i^//^, ii. i. 260.
** How dost that pleasant plague infest ? " — Daniel.
*• JF/7^ dine with me, ApemanCus?"— Z of A. i. i. 206.
Thou is often omitted after " wouldst," or perhaps merged, in the
form "woo't," as "wilt thou" becomes "wilta."
" Noblest of men, wodt die?" — A. and C. iv. 15. 59.
''WooH weep? WooH fight?. . . I'll do W— Hamlet, v. i. 299.
Sometimes thou is inserted :
" Woo' t thou fight well?"— ^. and C. iv. 2. 7.
242. Insertion of Pronoun. When a proper name is sepa-
rated by an intervening clause from its verb, then for clearness (see
248) the redundant pronoun is often inserted.
" Sueno, albeit he was of nature ver-ie cruell, yet qualified he his
displeasure. " — Holinshed, Duncane.
" Demeratus — when on the bench he was long silent . . . one
asking him . . . he answered. " — B. J. Disc. 744.
" For the nobility, though they continued loyal unto him, yet
did they not co-operate with him." — B. E.
Y 243. Insertion of Pronoun. Even where there is no inter-
vening conjunctional clause, the pronoun is frequently inserted after a
proper name as the subject. More rarely, the subject is a common
uoun. Still more rarely, the pronoun is inserted after the object.
PRONOUNS. 163
The subject or object stands first, like the title of a book, to call
tlie atteniion of the reader to what may be said about it. In some
passages the transition may be perceived "from the exclamatory use
"0 thy vile lady!
She\\z.% robbed me of my sword," — A. and C. iv. 14. 22,
to the semi-exclamation :
*' For God he knows. "—^/V/^. ///. iii. 7. 236 ; i. 10 ; i. 26.
" Where Heaven he knows how we shall answer him."
K. J. v. 7. 59.
(So T. G.ofV. iv. 4. 112, and
"God, I pray him:'— Rich. III. \. 3. 212.
The object (as in the last example) precedes in
" My sons, God knows what has bechanced them:'
3 Heu. VI. i. 4. e
" Senseless trees they cannot hear thee,
Ruthless beasts they will not cheer thee." — P. P. 393.)
and hence to passages of simple statement :
"The skipping king he ambled up and down."
I Hen. IV. iii. 2. 60.
** Of six preceding ancestors that gem
Conferr'd by testament to the sequent issue
Hath it been owed and worn." — A. W. v. 3. 198.
"But this same Cassio, though he speak of comfort
Touching the Turkish loss, yet he looks sadly. "
Othello, ii. i. 31.
But many such passages of simple statement may be regarded as
abridgments of the construction with "for," "of," or some other
preposition :
" For your intent . . . it is most retrograde to our desires."
Hamlet, i. 2. 112.
" For my voice, I have lost it with halloing and singine of
anthems."— 2 Hen. IV. i. 2. 213.
So "7w- (as regards) your brother, he shall go with me," might
become
" Your brother he shall go along with me."
A. W. iii. 6. 117 ; Rich. II ii. 2. 80; I Hen. IV. ii. 4. 442.
So "Of Salisbury, who can report of him ?" — 2 Hen. VI. v. 3. 1,
M 2
[64 SHAKESPEARIAN GRAMMAR.
RELATIVE PRONOUNS.
244. Omission of the Relative. The relative is frequently
omitted, especially where the antecedent clause is emphatic and
evidently incomplete. This omission of the relative may in part
have been suggested by the identity of the demonstrative that and
the relative that : —
" We speak that (dem.) that (rel.) we do know,*'
may naturally be contracted into —
" We speak that we do know."
Thus—
" And that {that) most deeply to consider is
The beauty of his daughter." — TemJ>. iii. 2. 106.
"Thy honourable metal may be wrought
From that {to xvhich) it is disposed, "—y. C, i. 2. 314
"Now follows that {that) you know, young Fortinbras," &c
Hamlet, i. 2. 17.
** And that {that) is worse — the Lords of Ross are fled."
Rich. 11. ii. 2. 52.
«>. *' which is worse." So often in the A. V. of the Bible, " that
is, being interpreted," means "which is" (as the Greek shows),;
though a modern reader would suppose that to be the demonstrative.'
In many cases the antecedent immediately precedes the verb to
which the relative would be the subject.
" I have a brother {%vhx)) is condemned to die. "
M.for M. ii. 2. 33; C. of E. v. I. 283.
"I have a mind {-which) presages." — M. of V. i. i. 175.
" The hate of those {;who) love not the king. "
Rich. II. ii. 2. 128.
" In war was never lion {that) raged more fierce. "
lb. ii. I. 173.
" And sue a friend {who) 'came debtor for my sake."
Somi. 139.
" What wreck discern you in me {that)
Deserves your pity V—Cynib. i. 6. 84 ; W. T. iv. 4. 378, 612.
" You are one of those {who)
Would have him wed again." — VK T. v. i. 23.
** I'll show you those {who) in troubles reign.
Losing a mite, a mountain gain. " — P. of T. ii. Qrvwer, 8.
RELATIVE PRONOUNS, 165
** Of all [who have) 'say'd (tried) yet, may'st thou prove pros-
perous."—/^. o/T. i. I. 59.
" And they are envious {that) term thee parasite." — B. J. Fox, i. i.
" For once {^tihen) -wq stood up about the corn, he himself stuck
not to call us the many-headed multitude."
Coriol. ii. 3. 16.
i.e. " On one occasion {on which) we stood up," &c. Compare — •
" Was it not yesterday {071 which) we spoke together?"
Macbeth^ iii. i. 74.
"Off with his head,
And rear it in the place {in which) your father's stands."
3 Hen. VI. ii. 6. 86.
*' Declare the cause
{for which) My father. Earl of Cambridge, lost his head. "
I Hen. VI. ii. 5. 55.
** O that forc'd thunder {that) from his breath did fly !—
O that sad breath {that) his spongy lungs bestow 'd ! "
L. C. 46.
" And being frank she lends to these {who) are free."
Sonn. 4.
So explain :
"To me {whom) you cannot reach you play the spaniel."
Hefu VIII. V. 2. 126.
"That's to you sworn {that) to none was ever said."
,Z. C. 25. ^oM.forM. iii. 2. 165.
Most of these examples (except those in which 7vhe}i and why are
omitted) omit the nominative. Modem usage confines the omission
mostly to the objective. " A man {whom) I saw yesterday told
me," &c. We must either explain thus :
** Myself and Toby
Set this device against Malvolio here {which device),
Upon some stubborn and discourteous parts,
We had conceiv'd against him," — T. N. v. i. 370.
01 suppose (more probably), that there is some confusion between
" conceiving enmity " and " disliking parts."
In "To her own worth
She shall be prized : but that you say ' Be 't so,'
I'll speak it in my spirit and honour * No. ' "
Tr. and Cr. iv. 4. 136.
that probably means " as to that which."
Other instances are :
"My sister ... a lady, sir {who), though it was said she much
resembled me, was yet of many accounted beautiful." — T. N. ii. i. 27.
i66 SHAKESPEARIAN GRAMMAR.
"What should I do {that) I do not?"— ^. and C. i. 3. 8.
** Of every virtue {that) gives renown to men." — P, of T. i, \. \i.
Either a relative or a nominative (see 399) is omitted in
" These are my mates that make their wills their law
( IVko) have some unhappy passenger in chace. "
T. G.ofV. V. 4. 15.
In "And curse that justice did it," — Coriol. i. I. 179.
either the relative is omitted after "justice," or "that" is used for
"because" (284).
So, after disobeying King Cymbeline by allowing Posthumus to
speak to the King's daughter, the Queen, while purposing to betray
Posthumus, says aside :
" Yet I'll move him (the king)
To walk this way : I never do him (the king) wrong
But he {tvho, like Posthumus) does buy my injuries to be friends,
Pays dear for my offences. " — Cymb. i. i. 105.
The relative adverb where is omitted in
" From that place {where) the morn is broke
To that place {where) day doth unyoke." — B. and F. F. Sh. i, i.
That, meanmg "when," is omitted after "now." (See 284.)
245. The Relative is omitted (as well as the verb "is," "are,"
&c. ) between a pronominal antecedent and a prepositional phrase,
especially when locality is predicated,
" And they in France of the best rank and station."
Hamlet, i. 3, 73.
"He made them of Greece {i.e. the Grecians) to begin warre."
-N. R 175.
So " What is he at the gate ?"— T". N. i. 5. 125.
So in Early English and Anglo-Saxon. We make the same
omission, but only after nouns : " The babes in the wood."
246. The Relative is omitted in the following example, and the
antecedent is attracted into the case which the relative, if present,
would have :
" Hij}t (he whom) I accuse,
By this, the city ports hath enter'd." — Coriol. v. 6. 6.
Apparently there is an ellipsis of ^Uhal (relative) is" before participles
in the following :
RELATIVE PRONOUNS. 167
" Not that devour'd, but that which doth devour,
Is worthy blame," — R. of L. 451.
*^here "that devour'd" seems used for ^*that that is devour'd."
** Why have you not proclaim'd Northumberland,
And all the rest (that are) revolted, faction-traitors?"
Rich. II. ii. 2. 57,
And in
**I hate the murderer, love him murdered,"
Rich. II. v. 5. 40.
the meaning seems to be, not ** I love the fact that he is murdered,"
but "I love him (who is) murdered." Compare the harsh con-
struction in
*' But you must know your father lost a father,
That father (who was) lost, lost his." — Hamlet^ i. 2. 90.
" A little riper and more lusty red
Than that (which is) mixed in his cheek. "
A. Y. L. iii. 5. 222.
The relative is attracted to a subsequent implied object in the
following :
*' Thou shalt not lack
The leaf of eglantine, %vhom not to slander,
Outsweetened not thy breath." — Cymb. iv. 2. 223.
i.e. "the leaf which^ not to slander //, would not outsweeten," &c.
247. The Relative (perhaps because it does not signify by
inflection any agreement in number or pei'son with its antecedent)
frequently (i) takes a singular verb, though the antecedent be
plural, and (2) the verb is often in the third person, though the
antecedent be in the second ox first.
(i) "All things that belongs'' (so Folio; Globe, belong).— T. ofSh.
ii. I. 357.
" Whose wraths to guard you from,
Which here in this most desolate isle &\se falls
Upon your head." — Temp. iii. 2. 80.
" Contagious fogs 7vhich falling on our land
Hath every pelting river made so proud." — M: N. D. ii. i. 91.
This, however, might be explained by 337.
" 'Tis not the many oaths that makes the truth."
A. VV. iv. 2. 21 ; K. J. iL i. 216.
" W^ith sighs of love that costs the fresh blood dear."
M. N. D. iii 2. tf7
I68 SHAKESPEARIAN GRAMMAR,
** My observations
Which with experimental seal doth warrant
The tenour of my book."— il/. Ado, iv. i. 168.
** 'Tis your graces that charms" — Cymb. i. 6. 117.
** So, so, so : they laugh that wins" (Globe, win).
Othello, iv. I. 125.
" So are those crisped snaky golden locks
Which makes."— M, of V. iii. 2. 92.
" Those springs *
In chalic'd flowers that lies." — Cymb. ii. 3. 24.
** Each substance of a grief hath twenty shadows
Which shows like grief itself." — Rich. II. ii. 2. 15.
**It is not words, that shakes me thus." — Othello, iv. I. 43. ,
*' But most miserable
Is the desires that's glorious." (Globe, ** desire.")
Cymb. i. 6. 6.
" 'Tis such fools as you
That makes the world full of ill-favour'd children."
A. Y. L. iii. 5. 53.
*' (The swords) That makes such waste in brief mortality."
Hen. V. i. 2. 28.
** There are some shrewd contents in yon same paper
That steals the colour from your cheeks." — M. of V. iii. 2. 246.
** Is kindling coals that fires all my breast."— 3 Hen. VI. ii. I. 83.
*' With such things else of quality and respect
As doth import yoM."— Othello, i. 3. 283.
•' Such commendations as becomes a maid." — I Hen. VI. v. 3. 177.
'* Such thanks as fits a king's remembrance." — Hamlet, ii. 2. 26.
" Like monarch's hands that lets not bounty fall. "
L. C. 41 (Globe, let).
** If it be you (you gods) that stirs these daughters' hearts."
Lear, ii. 4. 275 (Globe, stir).
'* To be forbod the sweets that seetns so good."
L. C. 164 (Globe, seem).
The distance of the relative from the antecedent sometimes makes
a difference, as in
" I that please some, try all, both joy and terror
Of good and bad, that makes and unfolds error. "
W. T. iv. 1. 2.
This construction is found as late as 167 1 :
** Jf it be true that monstrous births presage
The following mischiefs that afflicts the age."
The Rehearsal, Epilogue.
RELATIVE PRONOUNS. 169
(2) "Antiochus, I thank thee who hath taught." — P. of T. \. I. 41.
" Casca, you are the first that rears your hand." — J. C. iii. I. 30
"Rears his" or '* rear your" would be right.
"To make /«<? proud that Jests." — L. L. L. v. 2. QQ.
*' For it hyou that puts us to our shifts." — T. A. iv. 2, 176.
So Temp. v. i. 79.
" Loi'd, that lends me life !"— 2 He7t. VI. i. i. 19.
** They do but greatly chide thee ivho confounds." — Sonn. 8.
The last two examples may also be explained (see 340) by the
northern inflection of s for st : and the examples in (i) might come
under the cases of plural nominative with apparently singular in-
flection considered in 333. But taking all the examples of (i) and
(2) we are, I think, justified in saying that the relative was often
regarded like a noun by nature third person singular, and, therefore,
uninfluenced by the antecedent.
On the other hand, the verb is irregularly attracted into the
second person in
** That would I learn of you
As one that are best acquainted with her person."
Rich. III. iv. 4. 268.
248. Relative with Supplementary Pronoun. With the
Germans it is still customary, when the antecedent is a pronoun of
the first or second person, to repeat the pronoun for the sake of
defining the person, because the relative is regarded as being in the
third person. Thus "Thou who thou hearest," &c. The same
repetition was common in Anglo-Saxon (and in Hebrew) for all
persons. " That (rel.) through him " = " through whom,'' " a tribe
that they can produce" = "a tribe who can produce," &c.
Hence in Chaucer, Prol. 43-45 :
" A knight ther was, and that a worthy man,
That, from the tyme that he first began
To ryden out, he lovede chyvalrye ; "
and in the same author '■' that his" ='' whose " 'Hhathim "='*whom"
&c.
In the same way in Elizabethan authors, when the interrogative
wha (251) had partially supplanted that as a relative, we find w/io
his for whose, whom him for whom, which it for which, &c.
The following is probably not a case of the supplementary
pronoun :
170 SHAKESPEARIAN GRAMMAR.
"Bardolph and Nym had ten times more valour than this roaring
devil i' the old play, that every one may pare his nails with a wooden
dagger." — Henry V. iv. 4. 76.
That . . . his is not elsewhere used in Shakespeare, that I know
of. The above probably means "than this (fellow, who is, a mere
devil-in-the-play, so that every one may beat him. "
249. The Supplementary Pronoun is generally connned to
cases (as above, 242) where the relative is separated from its verb by
an intervening clause, and where on this account clearness requires
the supplementary pronoim.
* ' Who, when he lived, hts breath and beauty set
Gloss on the rose, smell on the violet." — F. and A.
" Which, though it alter not love's sole effect,
Yet doth it steal sweet hours from love's delight."
Sonn. 36.
** And who, though all were wanting to reward,
Yet to himself he would not wanting be." — B. J. Cy.^s Rev.
'* Whom,
Though bearing misery, I desire my life
Once more to look on him.''' — W. T. v. i. 138.
** (The queen) whom Heavens in justice both on her and hers
Have laid most heavy hand." — Cymb. v. 5. 464.
Here the construction is further changed by the addition of "both
. . . and hers."
" You are three men of sin whom Destiny
(That hath to instrument this lower world,
And what is in't) the never-surfeited sea
Hath caused to belch up_j'<?z^" — Temp. iii. 2. 53.
In the following passage the wJiich may almost with better right
be regarded as supplementary than the noun which follows :
*' Our natural goodness
Imparts this ; which if you or stupified
Or seeming so in skill, cannot or will not
Relish a truth like us, inform yourselves
We need no more of your advice." — W. T. \\. I. 165.
Here which means "as regards which,'' and in this and in othet
places it approximates to that vulgar idiom which is well known to
readers of " Martin Chuzzlewit." (See 272.)
The following seems at first as though it could be explained thus ,
but "who" is put for "whom " (see 274), and "exact the penalty" is
regarded as a transitive verb :
RELATIVE PRONOUNS. 171
" Who^ if he break, thou may'st with better face
Exact the penalty. "—^1/. of V. i, 3. 137.
Or this may be an imitation of the Latin idiom which puts the
relative before the conjunction, thus :
" Who, when they were in health, I tell thee, herald,
I thought upon one pair of English legs
Did walk three Frenchmen." — Hen. V. iii. 6. 157.
250. Which that.
** Spite of his spite which that in vain
Doth seek to force my fantasy." — Ingelend {a.d. 1560).
This use of which that consecutively is common in Chaucer, but
not in Elizabethan authors. When it is remembered that which
was originally an interrogative, it is easier to understand how thai
may have been added to give a relative force to which.
251. Who and what. In Early English who was the masc. or
fem. and what the neut. interrogative (or used as the indefinite
relative whoso, what-so), thai being both the demonstrative and
relative, except in the oblique cases.
The transition of the interrogative to the relative can easily be
explained. Thus, the sentence
" O now who will behold
The royal captain of this ruin'd band ?
Let him cry ' Praise and glory on his head,'"
Hen. V. iv. Prologue.
may easily become "now let him who will behold," &c.
We can now only use who-ever in this sense, but the Germans
still use their interrogative [wer) thus. In such cases the who mostly
retains a trace of its interrogative meaning by preceding the ante-
cedent clause :
" Who steals my purse (he) steals trash," — Othdlo, iii. 3. 157.
and hence referring to a definite past :
" Who was the thane (he) lives yet." — Macbeth, i. 3. 109.
In this and other examples (as in Greek) the antecedent pronoun
is often omitted owing to the emphatic position of the relative.
** Who7n we raise we will make fast." — 2 Hen. VI. i. 4, 25.
** Is proclamation made that who finds Edward
Shail have a high reward?" — 3 Hen. VI. v. 5. 9.
172 SHAKESPEARIAN GRAMMAR.
'* Fixing our eyes on whom our care was fixed."
C. ofE. i. I. 85.
"We are going to whom it must be done." — J. C. ii. I. 331.
252. What, being simply the neuter of the interrogative who^
ought consistently to be similarly used. As, therefore, who is used
relatively, vi^e may expect what to be used so likewise. And so it
is ; but, inasmuch as the adjective which very early took the force
of the relative pronoun, what was supplanted by which, and is
rarely used relatively. Even when it is thus used, it generally stands
before its antecedent (like the transitional use of who above), thereby
indicating its interrogative force, though the position of the verb is
altered to suit a statement instead of a question.
" What cur contempt doth often hurl from us
We wisA // ours 2igzm."—A.and C. i. 2. 127. So Rich. II. i. i. 87.
* ' What you have spoke // may be so perchance. "
Macbeth, iv. 3. 11.
** Look, zvhat I speak, my life shall prove it ti-ue."
Rich. II. i. I. 87.
"It is true that zvhat is settled by custom, though it be not
good, yet at least it is fit." — B. E. 99
An unemphatic antecedent precedes what in
** And I do fearfully believe 'tis done
What we so feared he had a charge to do. " — K. y. iv. 2. 75.
I cannot remember any instance where what has for its antecedent
a noun, as in the modem vulgarism, '* The man what said." In
" And let us once again assail your ears,
That are so fortified against our story,
What we have two nights seen." — Hamlet, i. i. 33.
What depends on a verb of speech, implied either in "assail your
ears" or in "story," i.e. "let us tell you what we have seen," or
" our story describing what we have seen."
The antecedent was mostly omitted :
" Wliat is done (that) cannot be undone." — Macb. v. I. 74.
This use is common now, but we could not say
" To have his pomp and all what (that which) state compounds."
T.ofA, iv. 2. 35.
The following is a curious use of what :
" That Julius Caesar was a famous man :
With what his valour did enrich his wit
He did set down to make his valour live."
Rich. III. iii. i. 85 : i.e. " (that) with which."
RELATIVE PROjVOUNS, 173
253. What is used for "for what," ** why " (quid), as in
** What (why) shall I don this robe and trouble you?"
Cymb. iii. 4, 34.
** What need we any spur but our own cause?"
J. C. ii. I. 123.
♦* Wliat shall I need to draw my sword V—T. A. i. i. 189.
" ^>^a/ should I stay?"— ^. and C. v. 2. 317.
and in some other passages where the context shows this to be
the meaning :
** FalstaJ^. This apoplexy is, as I take it, a kind of lethargy.
Justice. Whut tell you me of it ? be it as it is. "
2 Hen. IV. i. 2. 130.
The following use of what for "in what state," i.e. "how far
advanced," should be noticed :
"J/. /^/5«/ is the night ?
Lady M. Almost at odds with morning, which is which. "
Macbeth, iii. 4. 126.
These adverbial uses of what are illustrated by
"His equal mind I copy what I can
And, as I love, would imitate the man."
Pope, Imit. Hor. ii. 131.
254. What = "whatever."
" V/hat will hap more to-night, safe scape the king,"
Lear^ iii. 6. 121.
where the construction may be "Happen what will," a comma
being placed after "will," or "Whatever is about to happen."
Probably the former is correct and "will" is emphatic, "hap"
being optative.
What = "whoever."
" There's my exchange. What in the world he is
That names me traitor, villain-like he lies." — Lear, v. 3. 97.
WJiat is often used apparently with no sense of "of what kind
or quality " where we should use who, especially in the phrase
** what is he?"
" Chief Justice. What's he that goes there?
Servant. Falstaff, an't please your lordship. "
2 Hen. IV. i. 2. 68.
" What's he that wishes so? My cousin Westmoreland ?"
Hen. V. iv. 3. 13.
174 SHAKESPEARIAN GRAMMAR.
■ Ros. What is he that shall buy his flock and pasture ?
Cor. That young swain, "—y^. Y. L. ii. 4. 88-9.
** Captain. He did see the love of fair Olivia !
Vio. What's she ?
Captain. A virtuous maid, the daughter of a count."
T. N. i. 2. 35 ; ib. i. 5. 124.
So Lear^ v. 3. 125 ; Macbeth, v. 7. 2 ; Rich. II. v. 5. 69.
But in the Elizabethan and earlier periods, when the distinction
between ranks was much more marked than now, it may have
seemed natural to ask, as the first question about anyone, " of what
condition or rank is he?" In that case the difference is one of
thought, not of grammar.
255. What hence in elliptical expressions assumes the meaning
"any."
" I love thee not a jar of the clock behind
What lady -she (224) her lord."— «^ T. i. 2. 44.
t.e. ** less than any lady M^hatsoever loves her lord." So
" With promise of his sister and what else."
3 Hen. VI. iii. i. 51 ; Tempest, iii. i. 72.
i.e. "whatever else may be conceived," or "everything else."
" What not " is still used in this sense, as
" He that dares approach
On him, on you, who not ? I will maintain
Mine honour firmly." — Lear, v. 3. 100: i.e. "on e»verybody."
Like the Latin "qua — qua," so "what — what" is used for
"partly — partly," mostly joined to "with." In this collocation
perhaps the alliteration of the two w's has had some influence : for
what is not thus used except before "with."
" And such a flood of greatness fell on you
What with our hdlp, what with the absent king,
What with the injuries of a wanton tim.e,"
I Hen, IV. V. i. 50.
So Tr. and Cr. v. i. 103.
Originally this may have been " considering what accrued from
our help, what from the king's absence," &c. but "what" is used
by Spenser in the sense of " part," "her little what." (See p. 5.)
256. What is sometimes used before a noun without the ap-
pended indefinite article in exclamations. (See Article, 86.) It is
also used without a noun in this sense :
RELATIVE PRONOUNS. 175
* O father Abram, what these Christians are ! "
M. of V. i. 3. 162.
" f^za/mortahty is!" — Cymb. iv. i. 16.
ue. "what a thing n>ortality is !"
257. Who for any one :
"The cloudy messenger turns me his back
And hums as who should say, 'You'll rue the time
That clogs me with this answer. ' " — Macbeth, iii. 6. 42.
" He doth nothing but frown, as wl should say, 'If you will
not have me, choose.'" — M. of V. i. 2. 45.
Comp. M. of V.\. I. 93, Rich. II. v. 4. 8. In these passages it is
possible to understand an antecedent to 'who,' "as, or like (one)
who should say." But in the passages
"Timon sumamed Misantropos (as who should say Loup-
garou, or the man-hater)." — N. P. 1 71.
" She hath been in such wise daunted
That they were, as who saith, enchanted."
GowER, C. A. I. (quoted by Clarke and Wright).
it is impossible to give this explanation. And in Early Eng.
(Morris, Specimens, p. xxxii.) "als wha say" was used for "as any
one may say." Comp. the Latin quis after si, num, &c. Possibly
an ^is implied after the as by the use of the subjunctive. (See 107. >
Littre explains " comme qui dirait " by supplying " celui." " 11
portait sur sa teste comme qui dirait un turban ; c'est-a-dire, il portait,
comme dirait celui qui dirait un turban." But this explanation
seems unsatisfactory, in making a likeness to exist between " carry-
ing" and "saying." But whatever may be the true explanation of
the original idiom, Shakespeare seems to have understood who as
the relative, for the antecedent can be supplied in all passages where
he uses it, as J. C. i. 2. 120, "As who goes farthest."
258. That, which, who, difference between. Whatever rule
may be laid down for the Elizabethan use of the three relative forms
will be found to have many exceptions. Originally that was the
only relative ; and if Wickliffe's version of the New Testament be
compared with the versions of the sixteenth century and with that
of i6n, that will be found in the former replaced by which and
who in the latter, who being especially common in the latest, our
Authorized Version. Even in Shakespeare's time, however, there
is great diversity of usage. Fletcher, in the Faithful Shepherdess
176 SHAKESPEARIAN GRAMMAR.
(with the exception of a few lines containing the plot, and probably
written by Beaumont), scarcely uses any relative but the smooth
that throughout the play (in the first act which is only used once) ;
and during the latter half of the seventeenth century, when the lan-
guage threw off much of its old roughness and vigour, the fashion
of WicklifTe was revived. That came into favour not because, as
in WicklifFe's time, it was the old-established relative, but becaust;
it was the smoothest form : the convenience of three relative forms,
and the distinctions between their different shades of meaning, were
ignored, and that was re-established in its ancient supremacy.
Addison, in his *' Humble Petition of Who and Which," allows the
petitioners to say: "We are descended of ancient families, and
kept up our dignity and honour many years, till the jack-sprat
That supplanted us. " But the supplanting was a restoration of an
incapable but legitimate monarch, rather than a usurpation. Since
the time of Addison a reaction has taken place ; the convenience of
the three distinct forms has been recognized, and we have returned
somewhat to the Elizabethan usage.
259. As regards the Shakespearian use, the following rules will
generally hold good : —
(i) That is used as a relative (a) after a noun preceded by the
article, {b) after nouns used vocatively, in order to complete the
description of the antecedent by adding some essential characteristic
of it.
(2) Who is used [a) as the relative to introduce ^.fact about the
antecedent. It may often be replaced by "and he," "for he,"
"though he," &c. {b) It is especially used after antecedents that
are lifeless or irrational, when personification is employed, but not
necessarily after personal pronouns.
(3) Which is used (a) in cases where the relative clause vanes
between an essential characteristic and an accidental fact, especially
where the antecedent is preceded by that ; {b) where the antecedent
is repeated in the relative clause; {c) in the form "the which,"
where the antecedent is repeated, or where attention is expressly
called to the antecedent, mostly in cases where there is more than
one possible antecedent and care is required to distinguish the real
one; {d) where "which" moans "a circumstance which," the cir-
cumstance being gathered from the previous sentence.
RELATIVE PRONOUNS, in
260. That. («) Since that introduces an essential characteristic
without which the description is not complete, it follows that, even
where this distinction is not marked, that comes generally nearer <o
the antecedent than who or which.
*' To think of the teen that I have tum'd you to
Which is from my remembrance!" — Temp, i, 2. 65.
I to the world am like a drop of water
That in the ocean seeks another drop,
Who falling there to seek his fellow forih,
Unseen, inquisitive, confounds himself " — C.o/E. i. 2. 37.
" You have oft enquired
After the shepherd that complain'd of love,
Who you saw sitting by me on the turf" — A. V. L. iii, 4. 52.
"And here's a prophet that I brought with me
P>om forth the streets of Pomfret, whom I found
With many hundreds treading on his heels. "—IC.y. iv. 2. 148.
The same order is preserved in A. Y. L. iii. 5. 13 ; 2 Hen. IV.
I. 3. 59 ; Lear, iii. 4. 134-139 ; 2 Hen. VI. iv. i. 3 ; Lear, iv. 2.
r<]-53 (where we find that, who, that, consecutively); Lear, iii. 7.
m, 90 ; I Hen. IV. ii. I. 80 {that, the which, that); Tempest, iv. I. 76
The distinction between that and which is preserved in
" It is an heretic that (by nature, of necessity) makes the fire,
Not she which (as an accidental fact) burns in it. "
W. T. ii. 3. 115.
*' And he doth sin that doth belie the dead,
Not he which (as you do) says the dead is not alive."
2 Hen. IV. i. i. 99.
In the latter passage "he that" = **who-so," and refers to a class,
"he which" to the siiigle person addressed. Thus Wickhffe
{Matt, xxiii. 21) has "he that sweareth," whereas the other version.s
have "whoso" or "whosoever sweareth."
That is generally used after he, all, aught, &c. where a class is
denoted. This is so common as not to require examples, and it is
found even where that is objective.
" He that a fool doth very wisely hit."— ^. Y. L. ii. 7. ."i?.
In "The great globe itself,
Yea, nil ivhich it inherit," — Temp. iv. I. 154.
euphony perhaps will not allow " that it." (See Wllich, 265.)
The following is not an exception :
"It was the swift celerity of his death,
Which I did think with slower foot came on,
Thai brain'd my purpose." — M. for M. v. I. 400.
178 SHAKESPEARIAN- GRAMMAR.
for here which is used parenthetically (see 271). So Rich. II. iiL
4. 50.
In " He that no more must say is listen'd more
Than they whom youth and ease have taught to glose."
Rich. II ii. I. 9, 10.
a distinction appears to be drawn between the singular nominative
represented by the uninflected that, and the objective plural repre-
sented by the inflected zuho?n.
261, That. (^) After nouns used vocatively.
" Hail, many-coloured messenger ! that ne'er
Dost disobey the wife of Jupiter :
Who with thy saffron wings upon my flowers
Diffusest honey-drops, refreshing showers."
Temp. iv. I. 76-79.
** Hast thou conspired with thy brother, too,
That for thine own gain shouldst defend mine honour ?''
K. y.i. I. 242.
"You brother mine, that entertain'd ambition,
Expell'd remorse and nature ; who with Sebastian
Would here have kill'd your king."
Tempest, v. I. 79 ; 33-9.
This close dependence of that on the antecedent, wherein it differe
from who and which, is a natural result of its being less emphatic, and
therefore less independent, than the two other forms. When the
relative is necessarily emphatic, as at the end of a verse, we may
sometimes expect that to be replaced by which, for that and no
other reason.
* ' Sometimes like apes that mow and chatter at me,
And after bite me ; then like hedgehogs which
Lie tumbling in my bare-foot way." — Temp. ii. 2. 10.
262. That is sometimes, but seldom, separated from the antece-
dent, like who. (See 263.)
*' As if it were Cain's jawbone that did the first murder."
Hamlet, v. i. 86.
It is perhaps not uncommon after the possessive case of nouns and
pronouns. (See 218.) The antecedent pronoun is probably to be
repeated immediately before the relative.
** Cain's jawbone, (him) that did," &c.
RELA TIVE PRONOTTNS. 179
Less commonly as in
** They know the corn
Was not our recompense, resting well assured
That ne'er did service for it." — Coriol. iii. I, 122.
The use of that for who = " and they " Is archaic. Acts xiii. 43 •
"They sueden Paul and Barnabas that spakun and counceileden
hym." Tyndale, Cranmer, and Geneva have which; Rheims and
A. V. who.
263. Who («) for "and he," "for he," &c.
**Now presently I'll give her father notice
Of their disguising and pretended flight ;
Who (and he), all enraged, will banish Valentine. "
T. G.ofV. ii. 6. 38.
*' My name is Thomas Mowbray, duke of Norfolk,
Who (and I) hither come engaged by my oath
Against the duke of Norfolk that (because he) appeals me. "
Rich. II. i. 3. 17.
** Caius Ligarius doth bear Caesar hard
WJto (since he) rated him for speaking well of Pompey."
J. C. ii. I. 216.
Hence who is often at some distance from the antecedent.
** Archbishop. It was young Hotspur's case at Shrewsbury.
Lord Bardolph. It was, my lord : who (for he) lined himself
with hope."— 2 Hen. IV. i. 3. 27.
** To send the old and miserable king
To some retention and appointed guard.
Whose (for his) age has charms in it. " — Lear, v. 3. 48.
** I leave him to your gracious acceptance ; whose (for his) tria'
shall better publish his commendation." — M. of V. iv. i. 165.
** In Ephesus I am but two hours old.
As strange unto your town as to your talk,
Who (and I), every word by all my wit bemg scann'd,
Want wit, in all, one word to understand."
C. ofE. ii. 2. 1.^:!.
So Temp. iii. i. 93 ; A. and C. i. 3. 29 ; Hen. V. i. Prologue, 33.
264. Who personifies irrational antecedents, {b) whn
is often used of animals, particularly in similes where they arc
compared to men.
" I am the cygnet to this pale faint swan,
W7io chants a doleful hymn to his own death. " — K. J. v. 7. 22.
" Or as a bear encompass'd round with dogs.
Who having pinch'd a few and made them cry."
3 Hen. VL ii. i. 16.
»* 2
rSo SHAKESPEARIAN GRAMMAR.
So 1 Hen. IV. v. 2. 10 ; 2 Hen. VI. iii. i. 254, > i. 153;
but also in other cases where action is attributed to them, e.g.
"A lion who glared."— y. C. i. 3. 21.
*' A lioness who quickly fell before him." — A. V. L. iv. 2. 13.
Who is also used of inanimate objects regarded as persons.
"The winds
Who take the ruffian billows by the tops." — 2 Hen. IV. iii. I. 22.
So R, and J. i. i. 119 ; i. 4. 100 : *« The winds . . . who."
"Rotten opinion, ivho hath writ me down
After my seeming." — 2 Hen. IV. v. 2. 128.
"Night. . . who:' -Hen. V. iv. Prol. 21.
"Your anchors, tvho
Do their best office if they can but stay you." — W. T. iv. 4. 681.
"A queen
Over her passion, who most rebel-like
Sought to be queen o'er her." — Lear^ iv. 2. 16.
So probably in
" Your eye
Who hath cause to wet the grief on 't." — Tempest, ii. i. 127.
i.e. "your eye which has cause to give tearful expression to the
sorrow for your folly."
"My arm'd knee
Who bow'd but in my stirrups." — Cofiol. iii. 2. 119.
But is who the antecedent here to "me" implied in " my?" (See
218.)
"The heart
Who great and puff'd up with this retinue."
2 Hen. IV. iv. 3. 120.
So V. ajtd A. 191 and 1043, "her heart . . . who ;" T. A. iii.
Z. 9, "my breast . . . who."
Tiie slightest active force, or personal feeling, attribiiied to the
antecedent, suffices to justify who. Thus :
" The dispers'd air who answered." — R. of L. 1805.
"Applause
Who like an arch reverberates." — Tr. and Cr. iii. 3. 120.
" Therefore I tell my sorrows to the stones
Who though they cannot answer" &c. — T. A. iii. I 38.
"Bushes,
hs> fearful of him^ part, through whom he rushes."
V. and A. 630.
RELATIVE PRONOUNS. i8i
So "her body . . . who,^' R. of L. 1740; "the hairs 7vko wave,"
V. and A. 306; "lips who . . . still blush," R. and J. iii. 3. 38 ;
"sighs 7i<Jio;' R. andj. iii. 5. 136 ; "mouths who,'' P. of T. i. 4.
33 ; " palates who,'' P. of T. l 4. S9 ; " her eyelids who like sluices
stopped," V. and A. Sometimes zvho is used where there is no
notion of personality :
" The world, who of itself is peised well," — K. y. ii. i. 575,
where perhaps who is used because of the pause after "world," in
the sense "though it." (See 263.) If there had been no comma be-
tween "world " and the relative, we should have had that or which.
Perhaps in this way we may distinguish in
" The first, of gold, who this inscription bears ;
The second, sHlver, which this promise carries. "
M. of V. ii. 7. 4.
i.e. "the first of gold, and it bears this inscription; the second,
(silver,) zvhlch carries," &c. In the first the material, in the second
the pj'-omise, is regarded as the essential quality. [Or does euphony
prefer which in the accented, who in the unaccented .syllables ?]
In almost all cases where who is thus used, an action is implied,
so that who is the subject.
Whom is rare.
" The elements
Of 7vhom your swords are temper'd." — TemJ>. iii. 2. 62.
265. Which (E. E. adj. hw-ilc, " wh(a)-like")is used inter-
changeably with Who and That, it is interchanged with who
in
" Then Warwick disannuls great John of Gaunt,
IVJiich did subdue the greatest part of Spain ;
And, after that wise prince, Henry the Fifth,
Who by his power conquered all France, "
3 Hen. VI. iii. '3. 87.
1 .ike who (263), which implies a cause in
" Deposing thee before thou wert possess'd.
Which (for thou) art possess'd now to depose thyself."
Rich. II. ii. I. 108.
It is often used for that (see 261), where the personal anteccient
vocatively used or preceded by the article :
** The mistress which I serve."— Temp. iii. i, 6.
So M. for M. V. 1 Z05; W. T. i. 2. 455, v. 2. 60.
i82 SHAKESPEARIAN GRAMMAR
"Abhorred slave,
Which any point of gcodness will not take." — Temp, i 2. 3,'>2,
" And thou, great goddess Nature, which hast made it."
W. T. ii. 3. 104.
So in our version of the Lord's Prayer.
266. Which, like that, is less definite than who. Who indicates
an individual, which a "kind of person ;" who is "qui," which
"qualis."
"I have known t\iOSQ which {qualis) have walked in their sleep
tiho (and yet they, 263) have died holily in their beds." — Macb.
V. I. ^^.
" For then I pity those I do not know
Which (unknown persons) a dismiss'd offence would after gall. "
M.forM. ii. 2. 102.
* ' They have — as who have not, that their great stars
Throned and set high ? — servants, who seem no less,
Which are to France the spies and speculations
Intelligent of our state."— Z<?«r, iii. i. 24.
Here ^^who seem no less" is parenthetical, and for who might be
written "they." Which means " of such a kind that." Where
"so dear," "such," &c. is implied in the antecedent, we may ex-
pect the corresponding which (278) in the relative :
" Antonio, I am married to a wife
Which is as dear to me as life itself." — M. of V. iv. I. 283.
When the antecedent is personal and plural, which is generally
preferred to zvho. Which, like that (260), often precedes who,
" I am Prospero, and that very duke
Which was thrust from Milan, who," &c. — Tempest, v. I. 160.
267. The . . . that; that . . . which, in A.-S. "l>e" (the)
was the relative and "se " the article. When the form ">e" (the)
became the article, "that " became the relative. In the same way it
perhaps arises that when that was applied to the antecedent, the
relative form preferred by Shakespeare was which. " The man that
says" = "whoever says," and the indefinite that is sufficient; but
*Uhat man," being more definite, requires a more definite relative.
After a proper name, who would answer the purpose ; but after
" that man," that being an adjective, " which man" was the natural
expression, which being originally also an adjective. Hence the
marked change in
RELATIVE FRO NOUNS. 183
•* If he sees aught in you that makes him like
That anything he sees which moves his liking." — K. J. ii, I. 512
" When living blood doth in these temples beat
Which owe the crown that thou o'er-masterest. " — lb. ii. I. 109.
Possibly "that" is a demonstrative, and "he" is used for "man"
in the following, which will account for the use of which ; but more
probably which is here used for that, and there is a confusion of
constructions.
" Rather proclaim it, Westmoreland, through our host.
That he which hath no stomach to this fight,
Let him depart. " — Hen. V. iv. 3. 34.*
268. Which more definite than That. Generally it will be
found that which is more definite than that. Which follows a name,
that a pronoun :
'* Here's the Lord Say which sold the towns in France ; he that
made us pay one-and-twenty fifteens. " —2 Z^«. VI. iv. 7. 23.
Sometimes which is used in this sense to denote an individual
or a defined class, while that denotes a hypothetical person or an
indefinite class. Hence
" And such other gambol faculties a' has, that show a weak mind
and an able body, for the which the Prince admits him." — 2 Hen.
IV. ii. 4. 74.
And compare
** She that was ever fair and never proud, &c
She was a wight, if ever such wight were." — Othello, il i. llO.
with " I tind that she which late
Was in my nobler thoughts most base, is now
The praised of the king : who (263), so ennobled,
Is as 'twere born so." — A. W. ii. 3. 179.
" It is a chance which does redeem all sorrows
That I have ever felt."— Zmr, v. 3. 266.
Which states a fact, that a probability, in
*' Why, Harry, do I tell thee of my foes,
Which art my near'st and dearest enemy ?
Thou that art Hke enough."— I Hen. IV. iii. 2. 124.
In " Cut off the heads of too fast growing sprays
That look too lofty in our commonwealth :
You thus employ'd, I will go root away
The noisome weeds which, without profit, suck
The soil's feitility from wholesome flowers." — Rich. II. iii 4.3/.
* See 415 and compare T. A. iii. i. 151 ; Lear^ ii. x. 63.
f84 SHAKESPEARIAN GRAMMAR.
We must explain " all the heads that may happen to look too lofty,
and the weeds which, as a fact, suck the fertility," &c.
So that introduces an essential, and which an accidental, or at all
events a less essential quality, in the two following passages : —
" (Thou) commit'st thy anointed body to the cure
Of those physicians that first wounded thee."
Rich. II. \u I. 99.
" Now for our Irish wars.
We must supplant those rough, rug-headed kerns,
Which live like venom where no venom else,
But only they, have privilege to live." — /(^. 157.
That may state a fact with a notion of purpose :
" Now, sir, the sound that tells {i.e. to tell) what hour it is
Are clamorous groans which strike upon my heart,
Which is the heiV'—Rich. II v. 5. 57.
269. Which with repeated antecedent. Which being an
adjective frequently accompanies the repeated antecedent, where
definiteness is desired, or where care must be taken to select the
right antecedent.
" Salisbury. What other harm have I, good lady, done
But spoke the harm that is by others done ?
Constance. Which harjn within itself so heinous is — "
K. J. iii. I. 39.
' ' And, if she did play false, the fault was hers,
Which fault lies," ^z.—K. J. i. i. 119 ; Rich. II i. i. 104.
This may sometimes explain why which is used instead of that,
and why that is preferred after pronouns :
" Let my revenge on her that injured thee
Make less a fault which I intended not." — F. Sh. v. i.
An antecedent noun ("fault") can be repeated, and therefore
can be represented by the relative which ; an antecedent pronoun
"her" cannot.
Sometimes a noun of similar meaning supplants the antecedent :
" Might'st bespice a cup
To give mine enemy a lasting wink,
Which draught to me were cordial."—^ T. i. 2. 318
270. The which. The above repetition is, perhaps, more
common with the definite *' the which" :
" The better part of valour is discretion ; in the which better part
I have saved my life." — I Hen. IV. v. 4. 125.
RELATIVE PKONOUNi,. 185
Somelimes the noun qualified by which is not i cpcattd, and only
»1 ghtly implied in the previous sentence :
•'Under an oak . . . X.o the which place." — A. Y. L. ii. i. 33.
" Let gentleness my strong enforcement be,
In the which hope I blush."— 7^. ii. 7. 119.
The question may arise why ** the" is attached to which and not
to who. (The instance
" Your mistress from the whom I see
There's no disjunction," — W. T. iv. 4. 539.
is, perhaps, unique in Shakespeare.) The answer is, that who is
considered definite already, and stands for a noun, while which
is considered as an indefinite adjective ; just as in French we have
"/^quel," but not 'V<?qui." " The which"" is generally used either
as above, where the antecedent, or some word like the antecedent,
is repeated, or else where such a repetition could be made if
desired. In almost all cases there are two or more possible antece-
dents from which selection must be made. (The use of 'V^quel"
is similar. )
"To make a monster of the multitude, of \}s\^ which (multitude)
we being members should bring ourselves to be monstrous members. "
— Coriol. ii. 3. 10.
*' Lest your Justice
Prove violence, in the which (violence) three great ones suffer. "
IV. T. ii. I. 128.
"Eight hundred nobles
In name of tendings for your highness' soldiers.
The which (nobles) he hath detain'd for lewd employments. "
Rich. II. i. I. 90.
" The which " is also naturally used after a previous "which,"
"The present business
Which now's upon us : without the which this story
Were most impertinent." — Temp. i. i. 138.
"The chain
Which God he knows I saw not, for the which
He did arrest me."— C. of E. v. i. 230.
271. Which for " which thing," often parenthetically.
"Camillo,
As you are certainly a gentleman, thereto
Clerk -like experienced, which no less adorns
Our gentry, than our parents' noble names." — W, T, i. 2 S3i
1 86 SHAKESPEARIAN- GRAMMAR.
Very often the *' thing" must be gathered not from what [irecedes
but from what follows, as in
** And, which became him like a prince indeed,
He made a blushing 'cital of himself." — I Hen. IV. v. 2. 62.
"And, which was strange, the one so like the other
As could not be distinguished." — C. of E. i. i. 53.
Thaf is rarely thus used by Shakespeare :
" And, that is worse.
The Lord Northumberland, his son young Henry Percy,
With all their powerful friends, are fled to him."
Rich. II ii. 2. 55.
Often, however, in our A. V. that in ^* that is, being interpreted,'*
is the relative, though a modern reader would not perceive it.
**I was never so berhymed since Pythagoras' time that (when) I
I was an Irish cat, which I can hardly remember." — A. F.Z.iii.2.188.
"I'll resolve you,
Which to you shall seem probable, of every
These happen'd accidents." — Tenip. v. i. 249.
i.e. ** I will explain to you {and the explanation shall seem probable)
every one of these accidents."
"My honour's at the stake, which (danger) to defeat
I must produce my power." — A. W. ii. 3. 156.
*' Even as I have tried in many other occurrences, which Caesar
affirmed (ce que dit Cesar), that often," &c. — Montaigne, 36.
272. Which for " as to which." Plence ^vhich and " the
which " are loosely used adverbially for "as to which. " So in
J-atm, " quod" in " quod si."
" Showers of blood.
The which how far off from the mind of Bolingbroke
It is such crimson tempest should bedew," &c.
Rich. II. iii. 3. 46.
'* With unrestrained loose companions —
Even such, they say, as stand in narrow lanes,
And beat our watch, and rob our passengers ;
Which he, young, wanton, and effeminate boy,
Takes on the point of honour, to support
So dissolute a crew." — Rich. II. v. 3. 10.
*• But God be thanked for prevention :
Which I in sufferance heartily will rejoice."
Hen. V. ii. 2. 159
RELA TIVAL CONSTRUCTIONS,
273. Which. It is hard to explain the following :
** A mote \vin turn the balance which Pyranius which Thisbe
the better. "—J^ N. D. v. i. 325.
unless which is used for the kindred " whether."
In ** My virtue or my plague, be it either which,'*
Hamlet, iv. 7. 13.
there is perhaps a confusion between, "be it either" and "be it
whichever of the two." Perhaps, however, " either" may be taken
in its original sense of "one of the two," so that "either which" is
"which-one-so-ever of the two."
274. Who for whom. The inflection of who is frequently neg-
lected.
" Who I myself struck ^ovm:*— Macbeth, iii. i. 123.
" Who does the wolf love ? The lamb."— CVr/^/. ii. I. 8.
Compare W. T. iv. 4. 636, v. i. 109.
Apparently it is not so common to omit the m when the whom
is governed by a preposition whose contiguity demands the inflection:
" There is a mystery with whom relation
Durst never meddle." — Tr. and Cr. iii. 3. 201.
Compare especially,
" Consider who the king your father sends,
To whojjt he sends." — L. L, L. ii. i. 2.
The interrogative is found without the inflection even after a pre-
position :
" C. Yield thee, thief.
Gui. To who ? ''—Cymb. iv. 2. 75 ; Othello^ i. 2. h%
''W\th who?"— Othello, iv. 2. 99.
And in a dependent question :
"The dead man's knell
Is there scarce asked for «//^(7. " — Macbeth, iv. 3. 171.
In the following, who is not the object of the preposition :
" This is a creature . . . might make proselytes
0/7£;/^^ she but bid follow."—^ T. v. i. 109.
RELATIVAL CONSTRUCTIONS.
275. — So as. Bearing in mind that as is simply a contraction
for "all-so" ("alse," "als," "as"), we shall not be surprised at
TOme interchanging of so and as.
1 88 SHAKESPEARIAN GRAMMAR.
We still retain '■^as . . . so "; "y^r I had expected so it happened,"
but seldom use *' so . . . as," preferring "as . . . as;^' except where J<?
(as in the above phrase) requires special emphasis. The Elizabethans
frequently used so before as.
" So well thy words become thee as thy wounds."
Macbeth, i. 2. \'-\
" Look I so pale, Lord Dorset, as the rest ?"
Rich. III. ii. I. 83.
" And with a look so piteous in purport
As if he had been loosed out of hell." — Hamlet, ii. i. 82.
" Thou art so full of fear"
As one with treasure laden." — V. ajid A.
*' Fair and fair and twice so fair
As any shepherd may be." — Peele.
"All so soon oj." — R. and J. i. I. 140.
This is not very common in Shakespeare. Nor is it common to
find so for as where the clause containing the second as is implied
but not expressed.
"Make us partakers of a little gain,
That now our loss might be ten times so much. "
I Hen. VI. ii. I. 53.
If the relatival as precedes, so, not as, must follow as the demdn-
strative. The exception below is explicable as being a repetition of
a previous as used demonstratively :
** As little joy, my lord, as you suppose
You should enjoy, were you this country's king,
As little joy may you suppose in me
That I enjoy."— i?/M. ///. i. 3. 153.
" That " is the relative.
Ben Jonson (p. 789) writes as follows on so and as : " "When the
comparison is in quantity, then so goeth before and as followeth.
* Men wist in thilk time none
So fair a wight as she was one.' — Gower, lib. i.
But if the comparison be in quality, then it is contrary.
* For, as the fish, if it be dry,
Mote, in default of water dye :
Right so without air or live,
No man ne beast might thrive.' — Gower."
So as\& frequently used for so that, (See 109.)
RELATIVAL CONSTRUCTIONS. 189
This construction is generally found with the past and future
indicative, but we sometimes find "j-f? as he may see," for '•'■so that
he may see." ^'' So as^' is followed by the subjunctive in
• ** And lead these testy rivals so astray
As one come not within another's way." — M. N. D. iii. 2. 359.
Compare the use of a>s with the subjunctive in Greek. There
is no more reason for saying, *'I come so that (i.e. in which way)
I may see," than for saying, ** I come so as (i.e. in which way) I
may see. " We sometimes find so as that for so as in this sense.
The so is omitted after as in the adjurations
'■^ As ever thou wilt deserve well at my hands, (so) help me to a
candle,"—/: N. iv. 2. 86.
where ^j means "in which degree," and so "in that degree." Hence
as approximates to **if."
It would seem that '* aj . . . j^ " are both to be implied from the
previous verse in
*' Had you been as wise as bold,
{As) young in limbs, {so) in judgment old."
M. of V. ii. 7. 71.
276. As . . . as. The first As is sometimes omitted :
** A mighty and a fearful head they are
As ever offered foul play in a state." — i Hen. IV. iii. 2. 168.
**He pants and looks {as) pale as if a bear were at his heels."
T. N. iii. 4. 323; Tempest, v. i. 289.
In the expression "old as I am," &c. we almost always omit the
first as. Shakespeare often inserts it :
'^ As near the dawning, provost, as it is." — M. for M. iv. 2. 97.
"But I believe, as cold a night as 'tis, he could wish himself in
Thames up to the neck." — Hen. V. iv. i. 118.
The expression is elliptical : "(be it) as cold as it is."
277. That . . . that, that . . . (as) to. That is still used
provincially for such and so: e.g. "He is that foolish that ha
understands nothing." So
" From me whose love was of that dignity
That It went hand in hand even with the vow
I made to her in marriage." — Hamlet, i. 5. 48.
That is more precise than " of that kind" or "such."
That, meaning " such," is used before the infinitive where we use
the less emphatic "the."
iqo SHAKESPEARIAN GRAMMAR.
" Had you that craft to reave her
Of what should stead her most?" — A. W. v. 3. 86.
So r. N. i. I. 33 ; Rich. III. i. 4. 257 ; and Macbeth, iv. 3. 74 '•
"There cannot be
That vulture in you to devour so many."
This omission of "as" after Ma^ meaning "so," is illustrated by
the omission of "as" after "so " (281).
278. Such which. Such (in Early English, "swulc," "suilc,"
"suilch," "sich") was by derivation the natural antecedent to
which; such meaning* "so-like," *' so-in-kind ;" which meaning
" what-like," " what-in-kind ? " Hence —
^^ Such sin
For which the pardoner himself is in." — M. for M. iv. 2, 111.
"There rooted between them such an affection which cannot
choose but branch now." — W. T. i. i. 26.
So W. T. iv. 4. 783 ; Coriol. iii. 2. 105.
Compare *' Duty so great which wit so poor as mine
May make seem bare. " — Sonn. 26.
Similarly xvhich is irregularly used after "too :"
"And salt too little which may season give
To her foul-tainted flesh."— J/. Ado\ iv. i. 144.
Whom follows such in
^'^ Such I will have whofn I am sure he knows not."
A. IV. iii. 6. 24.
279. Such that ; so . . . that (rel.) ; such . . . where.
Hence such is used with other relatival words :
** Such allowed infirmities that honesty
Is never free of."— ^ T. i. 2. 263.
"To such a man
That'\%xvQ fleering tell-tale. "—y. C. i. 3. 116.
" For who so firm that cannot be seduced." — J. C. i. 2. 316
"His mother was a witch, and one so strong
T'^d;/ could control the moon. " — Temp v. I. 270; ib, 315
" But no perfection is so absolute
That some impunity doth not pollute. " — R. of L.
" Who's so gross
That seeth not this palpable device ?" — Rich III. iii. 6. 11.
* ' Such things were
7^/ were most precious to me." — Macbeth, iv., 3. 222,
• Hence " j«<r/i-like " {Temp. in. 3. 59) is a pleonasm.
RELATIVAL CONSTRUCTIONS. 191
" For no man well of such a salve can speak
Thai heals the wound and cures not the disgrace."
Sonn. 34.
Coriol. iii. 2. 55 ; T G. of V. iv. 4. 70; A. W.\. i. 221 ; Lear,
ii. 2. 127 ; Othello, iii. 3. 417.
Hence it seems probable that that is the relative, having for its
antecedent the previous sentence, in the following passages from
Spenser : —
*' Whose loftie trees yclad with summer's pride
Did spred so broad that heaven's light did hide." — F. Q. i. I. 7.
** (He) Shook him so hard that forced him to speak." — IdA2.
Similarly "And the search Jt? slow
Which could not trace them." — Cymb. i. i. ^^.
The licence in the use of these words is illustrated by —
*' In me thou seest the twilight of such day
As, after sunset, fadeth in the west,
Which by and by black night doth take away.
In me thou seest the glowing of such fire .
That on the ashes of his youth doth lie
As on the death-bed." — Sonn. 73.
In the first case such as is used, because which follows ; in the
second, such that, because as follows. So Hamlet, iii. 4. 41-46 :
'•^ Such an act that .... such a deed «j-."
Such, so, where :
** Soch a schoole whe7-e the Latin tonge were properly and
perfitlie spoken." — Asch. 45.
" In no place so imsanctified
Where such as thou mayest find him." — Macbeth, iv. 2. 81.
** So narrow where one but goes abreast."
Tr. and Cr. iii. 3. 155.
280. That as. We now use only such with as, and only thai
with which. Since, hjwever, such was frequently used with which,
naturally that was also used with as {in which way) used for which.
Thus as approaches the meaning of a relative pronoun.
•* I have not from your eyes that gentleness
As I was wont to have." — J. C. i. 2. 33.
** Under these hard conditions as this time
Is like to lay upon us." — lb. 174.
192 SHAKESPEARIAN GRAMMAR
'■^ Those arts they have as I could put into them."
Cymb. V. 5. 338
*• Methinks the realms of England, France, and Ireland
Bear that proportion to my flesh and blood
As did the fatal brand Althea burned
Unto the prince's heart at Calydon." — 2 Hen. VI. i. I. 233.
"With that ceremonious affection as you were wont."
Lear^ i. 4. 63.
So after this :
*' I beseech you do me this courteous office as to know what my
offence is."— r. N. iii. 4. 278.
Similarly
"With hate in those where I expect most love."
Rich. III. ii. I. 33.
Either (i) the nominative is omitted (see 399), or (2) as is put for
whoy the relative to an implied antecedent, in :
" Two goodly sons,
And, which was strange, the one so like the other
As could not be distinguish'd but by names. "
C. ofE. i. I. 52.
i.e. (i) "so like that (they) could not be," as being used for that
(see 109) ; or (2) " the one so like the other," &c. is loosely used for
" the two so like each other as could not be distinguished."
Similarly as is used as a relative after an antecedent implied, but
not. expressed, by so with an adjective :
" I cannot but be sad, so heavy-sad
As . . . makes me faint." — Rich. II. ii. 2. 31.
t.e. " I feel such sadness as."
281 So (as). Under the Relative we have seen that sometime>
tl;e antecedent, sometimes the relative, is omitted, without injury to
the sense. Similarly in relatival constructions, e.g. so . . . as,
.so . . . that, &c. one of the two can be omiued.
'I'jie as is sometimes omitted :
" I wonder he is so fond
(as) To trust the mockery of unjust slumbers."
Rich. III. ii. 3. 26.
"6"(? fond "{i.e. foolish] (as) to come abroad.''
M. of V. iii. 3. 10.
^^ No woman's heart
So big (as) to hold so much."— TT A^. ii. 4. 99.
RELATIVAL CONSTRUCTION'S. 193
** Shall I so much dishonour my fair stars
(as) On equal terms to give him chastisement ? "
Rich. IL iv. I. 21.
R. and J. ii. 3. 91 j Macbeth, ii. 3. 55 ; Rich. II. iii. 3. 12.
As or who is omitted in :
" And while it is so, none so dry or thirsty
Will deign to sip or touch one drop of it." — T. ofSh. v. 2. 144.
i.e. **None is so thirsty (who) will deign" where we should say "as
to deign." Less probably, "none (be he how) so (ever) dry."
So and cis are both omitted in :
"Be not {so) fond
{As) To think that Caesar bears such rebel blood." — J. C. iii. i. 40.
282. So (that). The that is sometimes omitted.
** I am so much a fool (that) it would be my disgrace."
Macb. iv. z. 27
283. (So) that. So before that is very frequently omitted :
^^ Ross. The victory fell onus. Dune. Great happiness!
Ross. (So) that now Sueno, the Norway's king, craves composi-
tion." — Macbeth, i. 2. 59.
Compare Macb. i. 7. 8, ii. 2. 7, ii. 2. 24 ; J. C. \. i. 50.
In all these omissions the missing word can be so easily supplied
from its correspondent that the desire of brevity is a sufficient
explanation of the omission.
"A sheet of paper
Writ o' both sides the leaf, margent and all,
That he was fain to seal on Cupid's name." — Z. L. L. v. 2. 9.
284. That, for because, when. Since that represents different
cases of the relative, it may mean "in that,'' " for that,'' "because "
( " quod "), " or at which time " ( " quum ").
If I, or for that •
" Unsafe the while that we must lave our honours," &c.
Macbeth, iii. 2. 39.
" O, spirit of love ! How quick and fresh art thou
That (in that), . . . nought enters there but," &c.
T. N. i. I. V).
" Like silly beggars
Who sitting in the stocks refuge their shame,
That (because) many have and others must sit there,
And in this thought they find a kind of ease."
Rich. IL V. 5 27.
o
i^^ SHAKESPEARIAN GRAMMAR
At zvhich time : when :
"In the day that\\\o\x eatesf. thereof." — Gen. ii. 17.
* * Now it is the time of night
That the graves all gaping wide,
Every one lets forth his sprite." — M. N. D. v. I. 387.
'" So wept Duessa until eventyde,
TJiat shynyng lamps in Jove's high course were lit."
Spens. F. Q. i, 5. 19.
" Is not this the day
That Hermia should give answer of her choice ? "
M. N. D. iv. I. 1S3.
" So, till the judgment that yourself arise,
You live in this and dwell in lovers' eyes." — Sonn. 55.
Compare ** Then that,''^ apparently "then when.'''' (2 Hen. IV, iv.
I. 117.)
These uses of that are now superseded by the old interrogatives
7vhy and when, just as, even in Shakespeare's time, many of the uses
of that had been transferred to the interrogatives who and which.
** Albeit I will confess thy father's wealth
Was the first motive that I wooed thee, Anne."
M. W. of W. iii. 4. 1 4.
i.e. ^^ for which, or why, I wooed thee."
The use of that for when is still not uncommon, especially in the
phrase " now that I know," &c. It is omitted after "now" in
'* But now [that) I am return'd, and that war thoughts
Have left their places vacant, in their rooms
Come thronging soft and delicate desires." — M. Ado, i. i. 303.
So Rich. in. i. 2. 170 ; M. N. D. iv. i. 67, 109.
That = "in which" in
" Sweet Hero, now thy image doth appear
In the sweet semblance tJiat I loved it first." — M. Ado, v. i. 260.
285. That omitted and then inserted. The purely conjunctional
use of that is illustrated by the Elizabethan habit of omitting it at the
beginning of a sentence, where the construction is obvious, and then
inserting it to connect a more distant clause with the conjunction on
which the clause depends. In most cases the subjects of the clauses
are different.
'* Though my soul be guilty and that I think," &c.
B. J. Cy.^s Rev. iii. 2.
RELATIVAL CONSTRUCTIONS I95
**\k ere it not thy sour leisure gave sweet leave,
And that thou teachest. " — Sonn. 39.
"If this law
Of nature be corrupted through affection,
And that great minds, of partial indulgence
To their benumbed wills, resist the same."
Tr. and Cr. \\. 2. ] 7i>.
This may explain (without reference to "but that," 122) :
"If frosts and fasts, hard lodging and thin weeds
Nip not the gaudy blossoms of your love.
But that it bear this trial."— Z. Z. Z. v. 2. 813.
For "if that,'' see 287.
" Think I am dead, and that even here thou takest,
As from my death-bed, my last living leave. "
Rich. IL V. I. 38.
So T. N. V. I. 126 ', IV. T. i. 2. 84 ; A. and C. iii. 4. 31 ; P.
of T. i. Gov/er, 11.
"I love and hate her, for she's fair and royal.
And that she hath all worthy parts more exquisite. "
Cymb. iii. 5. 71.
i.e. ** for that" ox "because."
"She says I am not fair, that I lack manners ;
She calls me proud, and that she could not love me. "
A. V. L. iv. 2. 16.
In the above example the that depends upon a verb of speech
implied in " calls." This construction is still more remarkable in —
"But here's a villain that would face me down
He met me on the mart, and that I beat him." — C. of E. iii. i. 7.
Compare the French use of "que" instead of repeating "si,"
"quand,"&c.
286. Whatsoever that. In the following there is probably an
ellipsis :
" This and what needful else (there be)
That calls upon us. " — Macbeth, v. 8. 72.
"Till whatsoever star (// be) that guides my moving
Points on me graciously with fair aspect. " — Sonn. 26.
" As if that zvhatsortier god {it be) who leads him
Were slily crept into his human powers." — Coriol. ii, i. 235.
In the latter, that is probably the demonstrative. It might, how-
ever, be the conjunctional that. See " if that" 287.
o 2
190 SHAKESPEARIAN GRAMMAR.
287. That as a conjunctional affix. Just as so and as are affixed
to who (whoso), when (whenso), where (whereas, whereso), in order
to give a relative meaning to words that were originally interrogative,
in the same way thai was frequently affixed.*
" When that the poor have cried."
J. C. iii. 2. 96 ; T.N.y.i. 'i'M.
" Why that:'— Hen. V. v. 2. 34.
"You may imagine him upon Blackheath,
Where that his lords desire him to have borne
His bruised helmet and his bended sword
Before him through the c\iy:'~ Hen. V. v. Prologue, 17.
So A. V. L. ii. 7. 75 ; ii. 3. 117. This, with the above, explains
'* Edmund. When by no means he could.
Gloucester. Pursue him, ho ! go after. By no means what ?
Edmund. Persuade me to the murder of your lordship,
But that I told him," &c. — Lear, ii. I. 47.
Gradually, as the interrogatives were recognized as relatives, the
force of that, so, as, in "when that," "whenj^," "when as,''
seems to have teiided to r>iake the relative more general and in-
definite ; "who so" being now nearly (and once quite) as indefi-
nite as " whosoever. '^ The " ever" was added when the " so '*' had
begun to lose its force. In this sense, by analogy, that was attached
to other words, such as "if," "though," "why," &c.
" If that the youth of my new interest here
Have power to bid you welcome," — M. of V. iii. 2. 224.
Compare
'■^ If that rebellion
Came like itself, in base and abject routs."
2 Hen. IV. iv. I. 32 ; T. N. i. 5. 324, v. i. 375.
So Lear, v. 3. 262 ; Rich. IIL ii. 2. 7.
The fuller form is found, Chauc. Pard. Tale, 375 : " ^7 so were
that T might;" and Lodge writes, "7/^ so I mourn." Similarly, " li
so be thou darest." — Coriol. v. 14. 98,
Compare :
" While that."— Hen. V. v. 2. 46.
" Though that.''
Coriol. i. I. 144 ; Lear, iv. 6. 219 ; T. N. i. 3. 48.
'' Lest that."— Hen. V. ii. 4-142; T. N. iii. 4. 384.
" Whether that."— \ Hen. VL iv. i. 28.
"* St. Mark iii. 35. Where our Version has " ^\i.QSoez>e7- shall do the will of my
Father," VVickliffe has "-Wko that doth."
Ik
RELATIVAL CONSTRUCTIONS. 197
** So as thai," frequently found.
*' Since thaty—Macb. iv. y 106; Rich. IIL v. 3. 202.
** Hmv that" is also frequent. We also find that frequently affixed to
prepositions for the purpose of giving them a conjunctival meaning :
'' For that'' {Macb. iv. 3. 185); ''in that;'' '' after that," &.c.
The Folio has
** Your vertue is my priuiledge : for that
It is not night when I doe see your face.
Therefore I thinke I am not in the night."
M. N. D. ii. I. 220.
The Globe omits the full stop after "face," making "for that"
(because) answer to "therefore." Others remove the stop after
" privilege " and place it after " for that."
Hence we find " but that" where we should certainly omit that
" The breath no sooner left his father's body
But that his wildness, mortified in him,
Seem'd to die X.00."— Hen. V. i. i. 26.
288. That, origin of. Is that, when used as above, demonstrative
or relative ? The passage quoted above from Chaucer,* ''If so were
that," renders it probable that a similar ellipsis must be supplied
with the other conjunctions : " Though (it be) thai," "Since (it is)
that," &c. With prepositions the case is different, e.g. " for that,"
" in that," " after that. " For this use of that can be traced to A. -S. ,
where we find "for ]pam \>e" i.e. "for this purpose that," "after
\>am )>e," &c. Here ">am" is more emphatic than ">e," and
evidently gave rise to the English that. But " )>am " was the A.-S.
demonstrative. It follows that the that is (by derivative use, at all
events) demonstrative in "for t/iat," or, perhaps we should say,
stands as an abridgment for "that (demonst.) that (rel.)." In fact,
we can trace the A.-S. "after ]f>am J>e" to the E. E. "after that
that," and so to the later " after that." Hence we must explain
" The rather
For that 1 saw the tyrant's power afoot." — Alacb. iv. 3. 185.
as " for that (that), i.e. for that, because, I saw." It would be wrong,
however, to say that that in " since that " is, by derivative use, demon-
strative. On the contrary, "since "in itself (si]>-l>an) contains the
demonstrarive, and " since that" corresponds to " si>-J'an ]pat" where
that {\>a.t) is relative. And similarly "though that" corresponds to
the A.-S. "l>eah >e," where that (t>e) is the relative. The that in
* Compare "If so be that"
198 SHAKESPEARIAN- GRAMMAR.
"after thai" *' be/ore that" invites comparison with the "quam"
in "postquam" and "antequam," though in the Latin it is th?
antecedent, not the relative, that is suppressed- The tendency of
the relative to assume a conjunctional meaning is illustrated by th.e
post-classical phrase, "dico quod (or quia) verum est," in the place
of the classical "dico id verum esse." Many of the above Eliza-
bethan phrases, which are now disused, may be illustrated from
French: "Since that" "puisque;" '^though that" " quoi que;"
*' be/ore that," "avant que," &c. Instead of "/or that" we find in
French the full form, " par ce que," i.e. " by that {dem..) that (rel.)."
It is probable that Chaucer and Mandeville, if not earlier writers,
were influenced in their use of the conjunctional that by French
usage. Even in the phrase " I say that it is true," that may be ex-
plained as having a relatival force (like Srt, " quod," and the French
"que "), meaning, "I say in what way, hozv that, it is true." In the
phrase, "I come that {in the way in which; *ut,' ws, *afin que')
I may see," the relatival force of that is still more evident.
289. As is used in the same way as a conjunctional affix. Thus
*' while as:"
" Pirates . . . still revelling like lords till all be gone
While as the silly owner of the goods
Weeps over them." — 2 Hen VI. i. i. 225.
" Whenas:" .
" Whe7i as the enemy hath been ten to one." — 3 Hen VI. i. 2. 75.
" WJien as the noble Duke of York was slain." — lb. ii. i. 46.
So lb. V. 7. 34.
" Where as " is used by us metaphorically. But Shakespeare has
" Unto St. Alban's,
Where as the king and queen do mean to hawk."
2 Hen VI. i. 2. 57.
" They back retoumed to the princely Place,
Whereas an errant knight . . . they new arrived find. "
Spens. F. Q. i. 4. 38.
So " there as" is used in earlier English. " There that" is also
found in Chaucer in a local sense.
Of course the " so " in " whenj*?," " wherejo " &c., is nearly the
same in meaning, just as it is the same in derivation, with the as
in " whenaj," &c.
VERBS, FORMS OF. 199
VERBS, FORMS OF.
290. Verbs, Transitive (formation of). The termination en
(the infiniiive inflection) is sufficient to change an English monosyl-
labic noun or adjective into a verb. Thus " heart " becomes " heart^wy"
"light," "lighter/?;" "glad," '*gladd^/," &c. The licence with
whicL adjectives could be converted into verbs is illustrated by
" Eche that enhauncith hym schal be lazvid, and he that mekith
hymself shall be highid." — Wickliffe, St. Luke xiv. 11.
In the general destruction of inflections which prevailed during
the Elizabethan period, en was particularly discarded. It was
therefore dropped in the conversion of nouns and adjectives into
verbs, except in some cases where it was peculiarly necessary to
distinguish a noun or adjective from a verb. (So strong was the
discarding tendency that even the /r in " owen," "to possess," was
dropped, and Shakespeare continually uses "owe" for "owen"
or " own ''* {T. N.x. 5. 329 ; Rich. II. iv. i. 185). The n has now
been restored.) But though the infinitive inflection was generally
dropped, the convertmg power was retained, undiminished by the
absence of the condition. Hence it may be said that any noun
or adjective could be converted into a verb by the Elizabethan
authors, generally in an active signification, as —
*' Which happies (makes happy) those tliat pay the willing lover."
Sonn. II.
"Time will unfair (deface) that (which) fairly doth excel" — lb. 5.
So:
Balnid (healed). — Lear^ iil 6. 105.
Barn. — "^ar«j a harvest" — R. of L.
Bench (sit).— i>ar, iii. 6. 40.
Bold (embolden). — " Not holds the king." — Lear^ v. i. 26.
Brain. " Such stuff as madmen
Tongue and brairi noL" — Cymb. v. 4. 147.
i.e. "such stuff as madmen use their tongues in, but not their
brains. "
Child. — *^ Childing autumn." — M. N". D. ii. i. 112: i.e. "autumu
producing fruits as it were children."
aimate.—'-' Climates (neut.) [lives] here."— f^ T. v. I. 170.
Caivardal. — " That hath so cowarded ^.nd. chased your blood." — I/en.
v. n. 2. 75.
. ♦ Compare ' The gates are o/e," Coriol. L 4. 43.
200 SHAKESPEARIAN GRAMMAR.
Coy (to be crvv). — "Nay, if lie coy'dy — Coriol. v. i. 6.
Disaster (make disastrous-looking). — '* The holes where eyes shouM
be which pitifully disaster the cheeks." — A. and C. ii. 7. 18.
False.— '''E.2& falsed his faith."— Spens. F. Q. i. 19. 46.
Fame. — '■''Fames his wit."— A^ww. 84.
Fault.—'' Csimiot fault (neut.) twice."— N. P. Pref.; B. ^.Alch.m. i
Feeble. — " Andi/eebling such as stand not in their liking."
Coriol. i. I. 199.
Fez'er (give a fever to). — *' The white hand of a hidy fever thee,
Shake thou to look on\."—A. and C. iii. 13. 138.
Fond. *' My master loves her truly,
And I, poor monster, yi?;zdr as much on him." — T. N. ii. 2. 35.
Fool (stultify). •' Why, that's the way
Toy^<?/ their preparations." — A. and C. v. 2. 225.
This explains
"Why old men /?^/ and children calculate."— y. C. 1. 3. 65.
Foot. — "/v^/j" (kicks). — Cyjjih. iii. 5. 148. On the other hand, in
" A power already/^^/t'fl? " {Lear^ iii. 2. 14), it means "set on
foot j" and in *' the traitors late footed in the kingdom" {lb.
iii. 7. 45), it means "that have obtained a footing."
Force {to urge forcibly). — '''^\\y force you this?" — C&riol iii. 2. ^A.
Also (to attach force to, regard) :
" But ah ! who ever shunn'd by precedent
The destin'd ills she must herself assay,
Ox forced examples 'gainst her own content.
To put the by-past perils in liei way?" — L. C. 157.
i.e. "whoever regarded examples." So L. L. L. v. 2. 440.
Furnace. — ''Furnaces sighs." — Cymb. i. 6. ^^.
Gentle. — "This day shall ^if«//^ his condition." — Hen. V. iv. 3. 63.
God.— "He godded xae.''— Coriol. v. 3. 11.
Honest. — " Ho?iests (honours) a lodging." — B. J. Sil. PFom. i. i.
Inherit (make an inheritor). " That can inherit us
So much as of a thought of ill in him." — Rich. II. ii. I. 85.
Knee (kneel). — " Knee the way." — Coriol. v. I. 5.
Lesson (teach). — '* Lesson me."— Z G. ofV.'ix. 7. 5: Rich. III. i. 4. 246.
Linger (make to linger). " Life
Which false hope lingers in extremity. "
Rich. II. ii. 2. 72 • M. N. D. i. l 4.
#
VERBS, FORMS OF. 201
Mad.— '' Mads" (makes angry).— i?/V/5. //. v, 5. 61.
Melknv (ripen, trans.).—/: N. i. 3 43.
Mist (cover with mist). — "It that her breath will mist or stain ihc
stone." — Lear^v. 3. 262.
Malice. — " Malices" (bears malice to). — N. F.
Pale (make pale). — ** And 'gins to pale his uneffectual fire."
Hamlet, i. 5. 90.
Panging (paining). " 'Tis a sufferance /a«^/«^
As soul and body's severing." — Hai. VIII. ii. 3. 15.
Path (walk). — "For if \\\ow. path (neuter), thy native semblance
on."— y. C. ii. I. 83.
Plain (make plain). — ** What's dumb in show I'll plain in speech."
P. of T. iii. Gower, 1 4.
Property (treat as a tool). — "They have \i^x& propertied me."
T. N. iv. 2. 100; a: y v. 2. 79.
Ra^d (enraged). — There is no con-uption (though the passage is
marked as corrupt in the Globe) in
' * For young colts being rag\l do rage the more. "
Rich. II. ii. I. 70.
Safe. — " And that which most with you should safe my going,
Fulvia is dead." — A. and C. i. 3. 55.
i.e. "make my departure unsuspected by you of dangerous con-
sequences. "
Scale (weigh, put in the scale). — *^ Scaling his present bearing with
his past."— Coriol. ii. 3. 257.
Stage (exhibit), — " I do not like to stage me to their eyes."
M.forM. i. I. 69.
Stock (put in the stocks). — " Stocking Mvs, messenger."
Lear, ii. 2. 139
Stream {xmiml). — "■ Streaming \h& ^xm.gxi."— Rich. II. w. I. 94.
Toil (give labour to). — Probably in
" Why this same strict and most observant watch
So nightly toils the subject of the land." — Hatn'J, i. i. 72.
So " toil'd," passive. — Rich. II. iv. I. 96.
Tongue. — " How might she tongtie me ?" — M. for M. iv. 4. 28.
i.e. " speak of, or accuse, me." " Tongue " means " speak " m
" Such stuff as madmen
Tongue, and brain not." — Cymb. v. 4. 147.
202 SHAKESPEARIAN GRAMMAR.
Trifle.'-'^*^ Trifles (renders trifling) former knowing." — Macb. ii. 4. 4.
Undeaf. — ** My death's sad tale may yet undeaf his ear."
Rich. II. ii. I. 6.
F^rj<f (expressing in verse). — " Versiftg lo\e." — M. iV. D. ii. i. 67.
Violent (act violently). — "And violenteth in a sense as strong."
Tr. and Cr. iv. 4. 4.
Wage (pay : so E. E.). — " He waged me.'' — Coriol. v. 6. 40.
Womb (enclose). — "The close earth wombs or the profound sea hides. "
W. T. iv. 4. 501,
Worthied {enxiohled). — ''T\\z.t worthied him.'' — Lear, ii. 2. 128.
The dropping of the prefix be was also a common licence. We
have recurred to '* d^^witch " and "Mate," but Shakespeare wrote —
" And witch the world with noble horsemanship."
I Hen. IV. iv. i. 110
"Now spurs the Z^:/^^ traveller apace." — Macbeth, iii. 3. 6.
"Disorder, that hath spoil'd us, friend ms now."
He7t. V. iv. 5. 17.
291. Sometimes an intransitive verb is converted into
a transitive verb.
Cease. — " Heaven cease this idle humour in your hoiiour ! "
T. of Sh. Ind. 2. 13. So Cyvib. v. 5. 255.
Expire. — Time ''^expires a term." — R. and J. i. 4. 109.
Fall. — An executioner *^ falls an axe." — A. Y. L. iii 5. 5 and pro-
bably (though fall may be the subjunctive) in
"Think on me, and 7?);// thy edgeless axe." — Rich. III. v. 3. 135.
Peer. — ** Peers (causes to peer) his chin." — R. of L.
Perish. — "Thy flinty heart . . . mi^t perish (destroy) Margaret."
2 Heji. VI. iii. 2. 100.
^7/a// (make to quail). — "But when he meant to quail and shake
the orb."— ^. and C. v. ii. 85.
Relish. — ^^ Relishes (makes acceptable) his nimble notes to pleasing
ears."— i?. of L.
Remember (remind : so Fr.). — "Every stride I take
Will but reme7nber me what," ^z.—Rich. II. i. 3. 269.
Retire (so Fr.). — " That he might have retired \i\% power "
Rich. II. ii. 2. 46.
Shine. — "Goddoth not j/^/wi? honour upon all men equally." — 6.^5.45.
Squint. — " Squints the eye and makes the harelip." — Z^ar,iii.4. 122.
i.e. "makes the eye squint."
VERBS, FORMS OF. 203
Fear- This word is not in point. It had the signification of
'* fiighfen " in A.-S. and E. E. Hence,
' ' Thou seest what's past : go fear thv king withal. "
' 3 Hm. VF. iii. 3. 22G.
" This aspect of mine hathy^dirV the valiant."
M. of V. ii. I. 9.
So in Spenser, '* y^ox^sfearen babes."
The same remark applies to " learn," which meant "teach,"
" The red plague rid you
For /<f(»r;«/;?o- me your language. " — Tempest, \. 2. 365.
292. The licence in the formation of verbs arose partly
from the unfixed nature of the langaiage, partly from the desire of
brevity and force. Had it continued, it would have added many
useful and expressive words to the language. In vigorous colloquy
we still occasionally use such expressions as —
''Grace me no grace, nor uncle me no uncles." — Rich. FF. ii. 3. 87.
'* Thank me no thankings, nox proud nxo. no prouds."
R. and J. iii. 5. 153.
As it is, we can occasionally use the termination -fy, as m
"stultify," and sometimes the suffix -en or the prefix be-. But for
the most part we are driven to a periphrasis.
293. Transitive verbs are rarely used intransitively.
Eye (appear). "But, sir, forgive me
Since my becomings kill me, when they do not
Eye vi^ell to you. —A. and C. i. 3. 97.
Lack (to be needed), — " And what so poor a man as Hamlet is
May do to express his love and friending to you,
God willing, shall not lack.'' — Hamlet, i. 5. 186. So E. E,
Need (to be needed). — "These ceremonies need not."
B. J. E. in &i^c. iii. 2.
This is perhaps a remnant of the ancient love for impersonal
verbs. Such verbs would be appropriate to express "need." Hence
in Matt. xix. 20, Mark x. 21, Wicklifife has "faileth to me" and "to
thee," where the A. V. has "what do I lack " and " thou lackest."
Similarly, Milton [Areopagiti.u) uses "what wants there?" for
"what is needed?" and this UbC still exists in conversation. So
often Shakespeare, e.g.
"1'here wanteth now our brother Gloucester here."
Rich. FFF ii. i. 43
204 SHAKESPEARIAN GRAMMAR.
Sfiow (like our ** look : " compare German " schauen ").
" Each substance of a grief hath twenty sliadows
Which j-//^zc'j Uke grief itself. " — Rich. II. li. 2. 15.
294. Verbs Passive (formation of). Hence arose a curious
use of passive verbs, mostly found in the participle. Thus
"famous'd for fights" {So7in. 25) means "made famous ;" but in
"Who, young and simple, would not be so lover' d?^^ — L. C.
laver'd means "gifted with a lover." And this is the general rule.
A participle formed from an adjective means "made (the adjective),"
and derived from a noun means "endowed with (the noun)." On
the other hand, stranger' d below means, not "gifted with a stranger,"
but "made a stranger." This use will be best illustrated by the
following examples : —
Childed (provided with children). — " He childed as 1 father' d."
Lear^ iii. 6. 117
/^^///^'a'(believed).— "Make thy words /a«V/^'^."—/<5. ii. i. 72.
Father d (provided with a father). See above, Lear^ iii. 6. 117.
Feebled (enfeebled).— 7^. J. v. 2. 146.
Fielded (encamped in the field). — "Our fielded friends."
Coriol. i. 4. 12.
Grav'd (entomb'd). — " Grav'd in the hollow ground."
Rich. II. iii. 2, 140.
^^//(f-/ (deceitful). — " A ^«/A'^shore." — M. of V. iii. 2. 97.
Compare : " Beguiled [i.e. made plausible)
With outward honesty, but yet defiled
With inward vice." — R. of L.
Inhabited (made to inhabit). — " O, knowledge \\\-inhabited, worse
than Jove in a thatch'd house." — A. Y. L. iii. 3. 10.
A'?«^V (ruled). — ^^ King''d oi our fears, until our fears, resolv'd.
Be by some certain king purged and deposed." — K. J. ii. i. 371.
i.e. " ruled by our fears."
Zt?<?/^V (looking). — "Lean-/(?^/C'W prophets." — Rich. II. ii. 4. 11.
Lorded (made a lord). — " He being thus lorded.'^ — Tempest^ i. 2. 97.
Contrast this with "king'd" above, which means not "made a
king," but " ruled as by a king."
Mcered. " When half to half the world opposed.
He being the meered question." — A. and C. iii. 13. 10.
VERBS, FORMS OF. 205
The word "meered" is marked as corrupt by the Globe : but
perhaps it is the verb from the adj. "meere" or "mere," which in
EHzabethan EngUsh means "entire." Hence, " he being the ^«//r^
question," i.e. "Antony, being the sole cause of the battle, ought
not to have fled. "
Million^ d. — ^^ The million'' d accidents of time." — So7m. 115
Mouthed. — " Mouthed graves. " — lb. I'j.
Necessited. — " I bade her, if her fortunes ever stood
Necessited to help, that by this token
I would relieve her." — A. W. v. 3. 85.
i.e. " made necessitous. "
Alighted (benighted). — "His nighted life."— Lear, iv. 5. 13; "Thy
nighted colour." — I/amlet, i. 2. 68: i.e. "thy night-like colour. '
Paled.— "Raled cheeks."— Z. C. 28.
Pcnsived. — lb. 31.
Pined. — ''Hxs pined cheek." — lb. $.
Practised (plotted against). — "The death-practised Av^ie."
Lear, iv. 6. 284.
^i?rz/a«/^^ (made subservient). — Coriol. v. 2. 89.
Slow'd (retarded). — " I would I knew not why it should be slowed."
R. ajulj. iv. I. 16.
Stranger' d (made a stranger). — " Dower'd with our curse, and
stra7tger'd Wxih our oath." — Lear, i. i. 207.
ToiVd. — "I have been so toiVd." — B. J. E. out ^c. iii. I.
Traded. — " Traded pilots." — Tr. and Cr. ii. 2. 64.
t/«/(?(7>^V (unlooked for). — Rick. III. i. 3. 214: compare /c'(?/& (seek).
IIe7i. V. iv. 7. 76.
Unsured (unassured). — " Thy now unsured assurance to the crown."
K. J. ii. I. 471.
Vouchsafed (?). — " To your most pregnant and vouchsafed ear."
T. N. iii. I. 190.
/. e. capable of conceiving and graciously bestowed.
IVindow'd (placed in a window).
" Wouldest thou be window' din great Rome."
A. and C. iv. 14. 72.
Woman^d (accompanied by a woman).
"To have him see me woman' d." — Othello, iii. 4. 195.
Vear'd.—'' Vear'd hut to thirty."— B. J. Sejan. i. I.
2o6 SHAKESPEA RIA N GRAMMA R
In many cases a participle seems preferred where an adjective
would be admissible, as "million'd." So in Teinpesi,y. i. 43, "the
azurcd vault. "
295. Verbs Passive. With some few intransitive verbs, mostly
of motion, both be and have are still used, "He is gone," "he
has gone. " The is expresses the present state, the has the activity
necessary to cause the present state. The is is evidently quite as
justifiable as has (perhaps more so), but it has been found more con-
venient to make a division of labour, and assign distinct tasks to
is and has. Consequently is has been almost superseded by has in
all but the passive forms of transitive verbs. In Shakespearian
English, however, there is a much more common use of is with
intransitive verbs,
" My life is rim his compass." — y. C. v. 3. 25.
"Whether he <^^j-r«/^^," — "^ Hen. VI. ii. i. 2.
'' Being sat.''— L. C. st. x.
" Being deep stepi in age." — Asch. 189,
" An enter d tide," — Tr. and Cr. iii. 3. 159.
" I am arrived for fruitful Lombardy." — T. of Sh. i, I. 3.
" Pucelle is ejttered into Orleans."
I I-Ien. VI. i, 5. 36 ; Cyrnh. v, 4. 120.
" Five hundred horse . . . are marched \\\).'"
2 Ilejt. IV. ii, I. 186.
" The king himself is rode to view their battle,"
Hen. V. iv. 3. 1.
" His lordship is walk'd forth." — 2 Hen. IV. i, I. 3,
"The noble Brutus is ascended."— J, C. iii. 2. 11.
" You now are mounted
Where powers are your retainers." — Hen. VIII. ii, 4. 112.
*' I am descended oi a gentler blood." — I Hejt. VI. v. 4. 8.
" Through his lips do tlirong
Weak words, so thick (rcw^(particip, ) in his poor heart's aid. ''
R. of L. 1784.
Compare our "welcome."
" How now. Sir Proteus, are you crept before us?"
T. G. of V. iv. I. 18.
So Rich. in. i. 2. 259.
" Prince John is this morning secretly stolen away, "
M. Ado, iv. 2. 63.
VERBS, FOEMS OF. 207
This idiom is common with words of "happening :"
"And bring us word . . . how everything is chancedy
J. C. V. 4. 32; 2 Hen. IV. i. I. 87.
"Thingssince then <5^<?//^«."— 3i%«. VI. ii. i. 106.
" Of every one these //^//^'wV accidents. " — Te7iip. v. i. 249.
** Sad stories chanced in the days of old." — T. A. iii. 2. 83.
Hence a participial use like " departed " in
"The treachery of the /zw/<?^ hence. "—ff^ T. ii. i. 195.
In some verbs that are both transitive and intransitive this idiom
is natural :
" You were used to say." — Coriol. iv. i. 3.
Perhaps this is sometimes a French idiom. Thus, " I avi not
purposed" (Montaigne, 38), is a translation of "je ne suis pas
delibere. "
This constant use of "be" with participles of verbs of motion
may perhaps explain, by analogy, the curious use of " being " with
the present participle in
"To whom being- going.'''' — Cyvib. iii. 6. 63.
As above mentioned, the tendency to invent new active verbs
increased the number of passive to the diminution of neuter verbs :
" Poor knave, ^ow art d a'lvatched,''^ — J. C. iv. 3. 241.
" Be wreak' d [i.e. avenged) on him." — V. and A. So, N. P. 194.
" Possess" was sometimes used for to "put in possession," as in
^^ Possess us, possess us " [T. N. ii. 3. 149) : i.e. "inform us." So
M. of V. iv. I. 35. Hence the play on the word.
" Deposing thee before thou wert possess' d (of the throne),
Which art possessed (with a spirit of infatuation) to destroy
ihy sdi."— Rich. II ii. I. 107-8-; M. of V. i. 3. 65.
We still say a man "is well read." But in Macb. i. 4. 9, there is —
" As one that had been studied in his death."
"For Clarence is well-spoken.''— Rich. III. i. 3. 348.
" I <2W declined mio the vale of years." — Othello, iii. 3. 265.
" How comes it, Michael, you are ihns forgot ? "
lb. ii. 3. 188.
i.e. "you have forgotten yourself."
"If I had been retnembered.'' — Rich. HI. ii. 4. 22.
We still say "well-behaved," but not
"How have I been behaved.'^ — Othello, iv 2. 103.
208 SHAKESPEARIAN GRAMMAR.
It was perhaps already considered a vulgarity, for DogbeiTy i;n)'S
{M. A Jo, IV. 2. 1) :
** Is our whole disstmbly appear d? "
and in a prose scene {Coriol. iv. 3. 9^) —
** Your favour is well appeared (fol.) by your tongue."
Perhaps, however, appear was sometimes used as an active verb.
See Cy}7ib. iv. 2. 47, iii. 4. 148, quoted in 296.
296. Verbs Reflexive. The predilection for transitive verbs
v/as perhaps one among other causes why many verbs which aie
now used intransitively, were used by Shakespeare reflexively.
Many of these were derived from the French.
'' Advise you:'— T. N. iv. 2. 102.
" Where then, alas ! may I complain tnyself?" — Rich. II. i. 2. 42.
^' Endeavour thyself to sleep." — T. N. iv. 2. 104.
'* I do repent me.'' — lb. v. 3. 52.
'' Repose you."— lb. ii. 3. 161.
" He . . . retired himself ." — Rich. II. iv. i. 96 ; Coriol. i. 3. 30,
which is in accordance with the original meaning of the word.
It has been shov/n above that "fear" is used transitively for
"frighten." Hence, perhaps, as in Greek (pofiovfiai,
*' I fear me." — 2 Hen. VI. i. i. 160.
Appear is perhaps used reflexively in
'* No, no ; we will hold it as a dream till it appear itself. ^^
M. Ado, i. 2. 22.
** If you could wear a mind
Dark as your fortune is, and but disguise
That which to appear itself vnyxst not yet be." — Cymb. iii, 4. 148.
i.e. "that which, as regards showing itself, must not yet have any
existence." Though these passages might be perhaps explained
without the reflexive use of appear, yet this interpretation is made
more probable by
" Your favour is well appeared." — Coriol. iv. 3. 9.
297. Verbs Impersonal. An abundance of impersonal verbs
is a mark of an early stage in a language, denoting that a speaker has
not yet arrived so far in development as to trace his own actions and
feelings to his own agency. There are many more impersonal verbs
in Early English than in Elizabethan, and many more in Elizabethan
than in modern English. Thus-
VERBS, FORMS OF. 2or
" // yearns me not. " — Hen, V. iv. 3. 26.
" // would//// any living eye."— Spens. F. Q. i. 6. 43.
Comp. 2 Maccabees iii. 21 : "It would have pitied a. mau."
" It dislikes ^^r— Othello, ii. 3. 49.
So " it likes me," " rxi^seeins,^^ " vs^Qthinks" &c.
'* Which ///^^j me. "—//m. F. iv. 3. 77.
And therefore ///^^ is probably (not merely by derivation, but con-
sciously used as) impersonal in
"So//>^^you, %\x"—Cymb. ii. 3. 59.
Want\% probably not impersonal but intransitive, "is wanting," in
*' There -wants no diligence in seeking him?"* — Cynib.vi. 3. 20.
The singular verb is quite Shakespearian in
"Though bride and bridegroom wants (are wanting)
For to supply the places at the table." — T. ofSh. iii. 2. 248.
So in *• Sufficeth my reasons are both good and weighty. " — lb. i. i. 252.
*^ Sufficeth I am come to keep my word." — lb. iiL 2. 108.
the comma after "sufficeth" is superfluous; "that I am come to
keep my word sufficeth. "
In * ' And so betide to me
As well I tender you and all of yours," — Rich. III. ii. 4. 71.
betide may be used impersonally. But perhaps so is loosely used
as a demonstrative for "such fortune," in the same way in which as
(2S0) assumes the force of a relative. If betide be treated as im-
personal, befal in "fair befal you " may be similarly treated, and in
that case "fair "is an adverb. But see (5). The supposition that
"betide " is impersonal and " fair " an adverb is confirmed by " Well
be (it) with you, gentlemen." — Hamlet, ii. 2. 398.
The impersonal needs ^which must be distinguished from the
adverbial genitive needs) often drops the s ; partly, perhaps, because
of the constant use of the noun need. It is often found with " what,"
where it is sometimes hard to say whether "what" is an adverb and
need a verb, or " what " an adjective and need a noun.
" What need the bridge much broader than the flood ?"
M. Ado, \. I. 318.
either why need the bridge (be) broader?" or ^^vjhat need is there
(that) the bridge (be) broader ?"
See 293.
P
210 SHAKESPEARIAN GRAMMAR.
Comp. the old use of ** thinketh " (seemeth) :
" Where it thinks best unto your royal self." — Rich. III. iii. i. 63.
The Folio has thinksi : and perhaps this is the true reading, there
being a confusion between "it thinks''^ and "thinkest thou," Com-
pare 'Uhinkst thee " in
** Doth it not, thinkst thee, stand me now upon?" — Hamlet, v. 2. 63.
The impersonal and personal uses of think were often confused.
Chapman (Walker) has ^* methink." S seems to have been added
to assimilate the termination to that of " methinks" in " methoughtf"
{W. T.\.2. 154; Rich. Ill i. 4. 9).
It is not easy, perhaps not possible, to determine whether^ in the
phrase ** ?,o please your highness," please is used impersonally or
not ; for on the one hand we find, " '$,0 please him come,"
(7. C. iii. I. 140) ;
and on the other,
"If they please.''— W. T. ii. 3. 142.
** I do repent : but Heaven hath pleased it so." — Ham. iii. 4. 173.
VERBS, AUXILIARY.
298. Be, Beest, &c,, was used in A.-S. (beon) generally in a
future sense. Hence, since the future and subjunctive are closely
connected in meaning, be assumed an exclusively subjunctive use ; and
this was so common, that we not merely find "if it be" (which
might represent the proper inflected subjunctive of be), but also " if
thou beest," where the indicative is used subjunctively.
" If, after three days' space, thou here beest found,"
2 Hen. VI. iii, 2, 295.
" Beest thou sad or merry,
* The violence of either thee becomes." — A. and C. i. 5. 69.
And (Matzner, vol, i, p. 367), bee, beest, bee, pL bee, is stated by
Wallis to be the regular form of the subjunctive. Hence, from the
mere force of association, be is often used (after thojcgh, if, and other
words that often take the subjunctive) without having the full force
of the subjunctive. Indeed any other verb placed in the same
context would be used in the indicative. Thus :
" Though Page be a secure (careless) fool, and stands so firmly on
his wife's frailty."— i^. W. of W. ii. i, 242.
" If Hamlet from himself be ta'en away
And, when he's not himself, does wrong'Lz.tr^^.t^. " — Ha?n. v. 2. 24.t
VERBS, AUXILIARY. 211
*' If he ^^ a whoremonger and comes before him,
He were as good go a mile on his errand." — M. for M. iii. 2. 38.
299. Be in questions and dependent sentences.
So, as a rule, it will be found that be is used with some notion of
doubt, question, thought, &c. ; for instance, {a) in questions, and
{b) after verbs of thinking.
{a) "^^ my horses ready?" — Lear, i. 5. 36.
** Be the players ready?" — Handet, iii. 2. 111.
This is especially frequent in questions of appeal :
*• Where -J^ his quiddities?"— i%z;;/^/, v. i. 107.
" Where be thy brothers V'—Rich. Ill iv. 4. 92.
" Where be the bending knees that flatter'd thee?
Where be the thronging troops that foUow'd thee?"
lb. iv. 4. 95-6.
And in questions implying doubt, e.g. " where can they be ?"
*• Where be these bloody thieves?"— 0//^^//^, v. i. 64.
Partly, perhaps, by attraction to the previous be, partly owing to
the preceding w/iere, though not used interrogatively, we have
" Truths would be tales.
Where now half-tales be truths." — A. artd C. ii. 2. 137.
{b) " I thmk it be,, sir ; I deny it not."— C o/E. v. i. 379.
" I think this Talbot be a fiend of hell."— i Hen. VL ii. i. 46.
** I think he be transformed into a beast." — A. V. L. ii. 7. 1.
" I think it be no other but even so." — Hamlet, i. i. 108.
So I Hen. IV. ii. 1. 12 ; T. G. of V. ii. 3, 6.
Be expresses more doubt than is after a verb of thinking. In the
following, the Prince thinks it certain that it is past midnight, the
Sheriff thinks it may possibly be two o'clock :
** Prince. I think it is good morrow, is it not?
Sheriff. Indeed, my lord,. I think it be two o'clock."
I Hen. IV. ii. 4. 573.
Veiy significant is this difference in the speech of the doubtful
Othello—
** I thittk my wife be honest, and think she is not,"
Othello, iii. 3. 384.
where the is is emphatic and the line contains the extra dramatic
syllable. Be is similarly used by a jealous husband after " hope :"
" Eord. Well, I hope it be not so."—M. W. of W. \\. i. IIZ
<\-here the hope is mixed with a great deal *)f doubt.
f 2
212 SHAKESPEARIAN GRAMMAR.
" 1 kissed it (the bracelet) :
I hope it be not gone to tell my lord
That I kiss aught but he,"— 0/;/?<J. ii. 3. 153.
where, though the latter part is of course fanciful, there is a real
iear that the bracelet may be lost.
Also, in a dependent sentence like the following :
" Prove true
That I, dear brother, be now ta'en for you." — T. N. iii. 4. 410.
Bt follows "when," as "where" above, especially where w//^«
alludes to a future possibility,
" Haply a woman's voice may do some good
Whe7i articles too nicely urged be stood on." — Hen. F'.v.2.93.
In " Alas, our frailty is the cause, not we,
For such as we are made, of such we <5^," — T. N. ii. 2. 33.
it can scarcely be asserted that "for" is "for that" or "because."
It is more probable that the scene originally ended there, and that
Shakespeare used be in order to get the rhyme, which so often termi-
nates a scene.
300. Be is much more common with the plural than the singular.
Probably only this fact, and euphony, can account for
" When blood is nipp'd and ways be foul." — Z. L. Z. v. 2. 926.
In "When he sees reason of fears, as we do, his fears out of
doubt be of the same relish as ours," — Hen. V. iv. I. 113.
the be may partly be explained as not stating an independent fact,
but a future event, dependent on the clause " when," &c. Partly,
perhaps, "out of doubt" is treated like "there is no doubt that,"
and be follows in a kind of dependent clause.
Be is also used to refer to a number of persons, considered not
individually, but as a kind or class.
"O, there be players that I have seen play, and heard others
praise, and that highly, that," &c. — Hamlet, iii. 2, 32; ib. 44.
"There be some sports are painful." — Tempest, iii. i. 1.
But it cannot be denied that the desire of euphony or variety
iieems sometimes the only reason for the use of be or are.
"Where is thy husband now ? Where be thy brothers ?
Where are thy children?" — Rich. IH. iv. 4. 92.
301. Were. What has been said above of be applies to were,
that it is often used as the subjunctive where any other verb would
VERBS, AUXILIARY, 213
not be so used, and indeed where the subjunctive is unnecessary
or wrong, after " if," "though," &c., and in dependent sentences.
In early authors there seems to have been a tendency to use
should for shall, and loere for be after "that" in subordinate sen-
tences : " Go we fast that we were there." " Let us pray that he
would." ** My will is that it were so." In these sentences a wish
is implied, and were, perhaps, indicates the desire that the wish
should be fulfilled, not hereafter, but at once, as a thing of the past.
" I am a rogue, if Ixvere not at half-sword with a dozen of them
two hours together." — I Hen. IV. ii. 4. 182.
"If there xvere anything in thy pocket but tavern reckonings,
I am a villain." — i Hen. IV. iii. 3. 180.
" What if we do omit
This reprobate till he werevioA inclined ?" — M. for M. iv. 3. 78.
In some of these passages there may be traced, perhaps, a change
of thought : " I am a rogue (that is, I should be), if it were true
that I was not," &c. " What if we omit (what if we were to omit)
this reprobate till he were well inclined?"
" Duchess. I pray thee, pretty York, who told thee this ?
York. Grandam, his nurse.
Duchess. His nurse ! Why, she was dead ere thou wert born.
York. If ^twere not she, I cannot tell who told me. "
Rich. III. ii. 4. 34,
"If ever Bassianus, Csesar's son.
Were gracious in the eyes of royal Rome,
Keep then this passage to the Capitol." — T. A. i. i. 11.
Comp. 2 Hen. IV. v. 2. 85 ; A. and C. i. 3. 41.
" No marvel, then, though he w*^^ ill-affected. " — Lear, ii. i. 100.
where the meaning is : "It is no wonder, then, that hewas a traitor,"
and no doubt or future meaning is implied.
Somewhat similar is an idiom common in good authors even
now: "It is not strange that he should have succeeded," for the
shorter and simpler, " It is not strange that he succeeded."
" Lamachus, . . . whom they sent hither, though he w£re waxen
now somewhat old." — N. R. 172.
So, ])ut with a notion of concession,
"And though (granting that) he were unsatisfied in getting,
Which was a sin, yet in bestowing, madam.
He was most nrincely." — Hen. VIIL iv. 2. 56.
214 SHAKESPEARIAN GRAMMAR.
"If it were so it was a grievous fault" — J. C. iii. 2. 84.
So, beginning with certainty :
" She that was ever fair and never proud." — Othello, li. 1. 149
and ending with doubt :
** She was a wight, if ewer such wight 7vere." — lb. ii. i. 159.
In dependent sentences even after " know," as well as " think :"
*' I would I had thy inches : thou shouldst know
There wei'e a heart in Egypt." — A. and C. i. 3. 41.
** Which of your friends have I not strove to love,
Although I kneiv he xvere mine enemy." — Hen. VI H. ii. 4. 31.
*^ Imagine ^twere the right Vincentio." — T. of Sh. iv. 4. 12.
" As who should say in Rome no justice zuere." — T. A. iv. 3. 20.
" But that it eats our victuals, I should think
Here re/ifr^ a fairy. " — Cymb. iii. 6. 42.
** He will lie, sir, with such volubility that you would think truth
were ?i ioo\." — A. W. iv. 3. 285.*
302. Were is used after " while" in
** If they would yield us but the superfluity while it were whole-
some." — Coriol. i. I. 18.
and, still more remarkably, after " until," referring to the past, in
** It hath been taught us from the primal stat-e ;'■•-
That he which is, was wish'd until he were."
A. and C. i. 4. 42.
The following is contrary to our usage, though a natural
attraction :
** And they it ivei'e that ravished our sister." — T. A. v. 3. 99.
for "it was they." See 425 at end.
Can. See May, 307.
303. Do, Did : original use. In Early as in modern English,
the present and past indefinite of the indicative were generally repre-
sented by inflected forms, as "He comes, ""He came, " without the aid
of do or did. Do was then used only in the sense of "to cause,"
" to make," &c. ; and in this sense was followed by an infinitive.
* In this and many other instances the verb in the second clause may b*^ at*
Ira'-.ted into th« subjunctive by the subjunctive in the first clause.
VERBS, AUXILIARY. 21$
**l'hey have done her understonde. " — ^Govver.*
i.e. "they have caused her to understand."
Similarly it is used like the French " faire " or ** laisser " with the
ellipsis of the person who is " caused " to do the action, thus —
*^ Do stripen me and put me in a sakke,
And in the nexte river do me drenche."
Chaucer, Marchante's Tale, 10,074.
/ e. "cause (some one) to strip me — to drench me."
In the same way ' * let " is repeatedly used in Early English :
" He let make Sir Kay seneschal of England." — Morte d'Arthitr,
where a later author might have written *' he did make."
Gradually the force of the infinitive inflection en was weakened
and forgotten; thus ^^ do stripen" became *'' do scrip," and do was
used without any notion of causation. +
Sometimes do is reduplicated, as :
" And thus he did do slen hem alle three."— Chaucer, C. T. 7624.
or used with ** let," as in
** He let the feste of his nativitee
Don crien." — Chaucer, C. T. 10,360.
The verb was sometimes used transitively with an objective
noun, as :
" He <//i/thankingys."— WiCKLlFFE, St. Matt. xv. 36.
and so in Shakespeare in
^* Do me some charity."— Z^ar, iii. 4. 61.
" This fellow did the third (daughter) a blessing. "
Lear, i. 4. 115.
" Do my good-morrow to them." — Hen. V. iv. I. 26.
" To do you salutation from his master."
y. C. iv. 2. 5 ; RicL III v. 3. 210.
"After the last enchantment you did here." — T. N. iii. 1. 123.
and in the words "to don," i.e. "put on," and "dout," t.e.
"put out."
But as a rule do had become a mere auxiliary, so that we eveu
find it an auxiliary to itself, as in
" Who does do you wrong?"— r. N. \. 1. lid.
* Quoted from Richardson's Dictionary.
t The question may arise why do was preierred to lei as an auxiliary verb.
Probably the ambiguity of tei, which meant both "suffer" and " hinder," wa»
ua obstacle to its general use.
2i6 SHAKESPEARIAN GRAMMAR.
304. Do, did. How used by Shakespeare? In St. Matt.
XV. 37, Wickliffe has "and alle eten;" Tyndal, &c., "all dia
eat." It is probable that one reason for inserting the did here was
the similarity between the present and past of "eat," and the desire
to avoid ambiguity. In the following verse, however, Wickliffe has
"etun," Tyndal "ate," and the rest "did eat." This shows how
variable was the use of did in the sixteenth century, and what slight
causes determined its use or non-use. The following passage in
connection with the above would seem to show that did was joined
to eat to avoid ambiguity, and when it was not joined to other
verbs :
"And the Peloponnesians did eat it up while the Byzantines
died."—^. P. 1 80.
It can hardly be denied that in such lines as
" It lifted up it (so Folio) head, and ^/^ address
Itself to motion," — Hamlet, i. 2. 216.
the did is omitted in the first verb and inserted in the second simply
for the sake of the metre. Did is commonly used in excited
narrative :
" Horses did neigh, and dying men did gvooxi,
And ghosts did shriek and squeal about the streets. "
y. C. ii. 2. 23.
"The sheeted dead
Did squeak and gibber in the Roman streets."
Hamlet^ i. I. 116.
But in both the above passages the inflection in -ed is also used.
305. Verbs: "Do" omitted before "Not." in Early
English the tenses were represented by their inflections, and there
was no need of the auxiliary "do." As the inflections were dis-
used, " do " came into use, and was frequently employed by Eliza-
bethan authors. They, however, did not always observe the modern
rule of using the auxiliary whenever not precedes the verb. Thus—
"Inotdoubt."— Tirw/. ii. i. 121.
" Whereof the ewe not bites." — lb. v. i. 38.
" It not belongs to you." — 2 Hen. IV. iv. i. 98.
" It not appears to me."— /<^. 107.
" Hear you bad writers and though you not see."
Beaumont on B. J,
VERBS, AUXILIARY. 2X^
** On me whose all not equals Edward's moiety."
Ric/i. in. :. 2. 269.
** Neat Terence, witty Plautus, now not please."
B. J. on Shakespeare,
Less commonly in a subordinate sentence
'* I beseech you . . . that you not delay." — Coriol. i. 6. 60.
Later, a rule was adopted that either the verb, or the auxiliary part
of it, must precede the negative: "I doubt not," or "I do not
doubt." Perhaps this may be explained as follows. The old
English negative was **ne." It came before the verb, and was
often supplemented by a negative adverb **nawicht," "nawt,"
"noht" (which are all different forms of **no whit" or "naught"),
coming after the verb.
** His hors was good, but he ne was not gaie."
Chaucer, C. T. 74.
(Compare in French **ne. . . pas, " in Latin, **non(nenu),"z.<?. "ne. . .
unum.") In the fifteenth century (Matzner) this reduplication began
to pass out of fashion. In Shakespeare's time it had been forgotten ;
but, perhaps, we may trace its influence in the double negative
**nor will not" &c., which is common in his works.
" Vex not yourself, nor strive not with your breath."
Rich. II ii. I. 3.
Possibly the idiom now imder consideration is also a result of the
Early English idiom. The not, which had ousted the old dual nega-
tive **ne" ... "not," may have been thought entitled to a place
either before or after the verb. Latin, moreover, would tend in the
same direction. It must further be remembered that not is now less
emphatic than it was, when it retained the meaning of "naught" or
"no-whit." We can say, "I in-no-way trust you," or, perhaps,
even " I no-whit trust you," but not is too unemphatic to allow us to
say "I not trust you." Hence the "do" is now necessary to
receive a part of the emphasis.
Not is sometimes found in E. E. and A.-S. between the subject
and the verb, especially in subordinate sentences where the not,
"no-whit," is emphatic
306. Do, Did, omitted and inserted, in modem English
prose there is now an established rule for the insertion and omission
of do and did. They are inserted in negative and interrogative
sentences, for the Durtjose of including the " not" or the subject of
tiS SHAKESPEARIAN GRAMMAR.
the iflterrogation between the two parts of the verb, so as to avoiil
ambiguity. Thus: "Z>£i our subjects revolt?" '*Z>i7 not forbid him."
They are not inserted except for the purpose of unusual emphasis in
indicative sentences such as "I remember." In Elizabethan English
no such rule had yet been established, and we find —
"Revolt our subjects?" — Rich. II. iii. 2, 100.
** Forbid him not." — Mark ix. 39. E. V.
On the other hand —
''\do remember."— T: N. iii. 3. 48.
This licence of omission sometimes adds much to the beauty and
vigour of expression.
" Gives not the hawthorn- bush a sweeter shade ? "
3 Hen. Vi. ii. 5. 42.
is far more natural and vigorous than
* ' Does not the hawthorn-bush give sw-eeter shade ? "
307. Can, May, Might, May originally meant ** to be able "
(E. E. **mag;" A.-S. "magan;" German "mogen"). A trace
of this meaning exists in the noun "might," which still means
"ability." Thus we find
" I am so hungry that I may (can) not slepe. "
Chaucer, Monkis Tale, 14,744.
" Now help me, lady, sith ye may and can. "
Knightis Tale, 2,314.
In the last passage may means "can," and "ye can" means "ye
have knowledge or skill." This, the original meaning of "can," is
found, though very rarely, in Shakespeare :
" I've seen myself and served against the French, ,
And they can well on horseback. " — Hamlet, iv. 7. 85.
i.e. " they are well skilled."
" And the priest in surplice white
That defunctive music m«." — Fhcenix and Turtle, 14.
And perhaps in
" The sum of all I can, I have disclosed ;
Why or for what these nobles were committed
Is all wnknown to me, my gracious lady. "
Rich. III. ii. 4. iik
" The strong'st suggestion
Our worsei genius ^a^z," — Tempest, iv I 27.
VERB^, AUXILIARY, 219
A *.Tace of this emphatic use of can is found in
** What can man's wisdom
In the restoring his bereaved sense ?" — Lear^ iv. 4. 8.
But, as " can " (which even in A.-S. meant " I know how to" ana
therefore "I am able ") gradually began to encroach on may^ and to
assume the meaning "to be able," may was compelled to migrate
from " ability " to " possibility " and " lawfulness." Thus " mogen "
signifies moral, "konnen" physical, possibility. In the following
passage :
*' From hence it comes that this babe's bloody hand
May not be cleansed with water of this well," — F. Q. ii. 10.
it is not easy at once to determine whether may means " can " or
"is destined," *' must," "ought." Hence we are prepared for the
transition which is illustrated thus by Bacon :*
'* For what he may do is of two kinds, what he may do as j'usi
and what he ?nay do ^% possible J^
308. May in "I may come" is therefore ambiguous, since it
may signify either "lawfulness," as in "I may come if I like," or
" possibility," as in "I may come, but don't wait for me." In the
latter sentence the " possibility " is transposed so as to include the
whole sentence "it is possible that I may come," just as —
" He needs not our mistrust," — Afacd. iii. 3. 2.
means "it is not necessary that we should mistrust him."
309. May is used with various shades of the meaning of "per-
mission," "possibility," &c. :
" He shall know you better, sir, if I may Kve to report you. "
M.forM. iii. 2. 172.
i.e. " if I Old permitted by heaven to live long enough."
It is a modest way of stating what ought to be well known, in
** If you may please to think I love the king," — IV. T. iv. 4. 532.
" A score of ewes may be worth ten pounds." — 2 Hen. IV. iii. 2.57.
i.e. " \% possibly worth ten pounds." " May be" is often thiLS used
almost adverbially for possibly.
In " Season your admiration for awhile
Till I viay deliver," — Hamlet, i. 2. 193. •
may means " can," " have time to."
^' May (can) it be possible?" — Hen. V. ii. 2. 100.
* Quoted from Todd's "Johnson."
220 SHAKESPEARIAN GRAMMAR.
310. May with a Negative. Thus far Elizabethan and
modem English agree ; but when a negative is introduced, a diver-
gence appears.
In " I viay not-come" may would with us mean "possibility," and
the "not " would be connected with ** come " instead of may ; " my
not-coming is a possibility." On the other hand, the Elizabethans
frequently connect the "not" with 7nay,* and thus with them "I
may-not come" might mean "I can-not or must-not come." Thus
»iay is parallel to " must " in the following passage : —
"Yet I must not.
For certain friends that are both his and mine,
Whose loves I may not drop," — Macd. iii. i. 122.
Probably this disuse of may in "may not" (in the sense of
"must not") may be explained by the fact that "may not"
implies compulsion, and may has therefore been supplanted in this
sense by the more compulsory " must."
311. May used for the old subjunctive in the sense of
purpose.
If we compare Wickliffe's with the sixteenth-century Versions
of the New Testament, it appears that, in the interval, the sub-
junctive had lost much of its force, and consequently the use of
auxiliary verbs to supply the place of the subjunctive had largely
increased.
In I Cor. iv. 8, Wickliffe has, " And I wold that ye regne,
that also we regnen with you," where the later Versions, "And
I would to God that ye did reign, that we also ptt^'/ii reign." So
also Col. i. 28: "Techynge eche man in al wisdom; that we
o^re eche man perfight," where the rest have ^^ that we may offer''
ox ''to offer." So ib. 25, " that Ifille the word of God" for " that I
may fulfil." But may is found very early used with its modal force
The subjunctive of purpose is found in —
" Go bid thy mistress . . . she strike upon the bell." — Macb. ii. i. 31.
" Sir, give me this water that I thirst not." — St. John iv. 15.
'* He wills you, in the name of God Almighty,
That you divest yoursel.*"." — Hen. V. ii. 4. 78.
But it was not easy to distinguish the subjunctive representing an
* So in ante-Elizabethan English, and in Spenser, we find " nill," " not," for
"will not," "wot not," " nam " for " am not," &c. "Cannot" is also a trace
Df the close connection between the verb .T.nd the accompanying negative.
VERBS, AUXILIARY. 221
object, from the indicative representing a fact, since both were used
alter "that," and there was nothing but their inflections (which
are similar in the plural) to distinguish the two. The following is
an instance of the indicative following " that :" —
**But freshly looks and over-bears attaint
"With cheerful semblance and sweet majesty,
That every wretch pining and pale before.
Beholding him, plucks comfort from his looks. "
Hen. V. iv. Prologue, 39.
Hence arose the necessity, as the subjunctive inflections lost their
force, of inserting some word denoting "possibility" or "futurity"
to mark the subjunctive of purpose. " Will " is apparently used in
this sense as follows : —
"Therefore in fierce tempest is he coming,
In thunder and in earthquake like a Jove,
That, if requiring fail, he will compel." — Hen. V. ii. 4. 101.
But, as a rule, may was used for the present subjunctive and might
for the past, according to present usage. " That " is omitted in
" Direct mine arms I may embrace his neck." — i Hen. VI. ii. 5' 37.
i.c, "that I may embrace."
In "Lord marshal, command our officers at arms
j5^ ready to direct these home alarms," — Rich. II. i. i. 204-5.
it is doubtful whether "be" is the subjunctive or the infinitive with
"to" omitted (349). I prefer the former hypothesis, suppljring
"that" after "command." Compare
" Some one take order Buckingham be brought
To Salisbury."— i^ur/J. ///. iv. 4. 539.
So "that" is omitted before "shall :"
"The queen hath heartily consented he shall espouse Elizabeth."
Rich. Ill, iv. 5. 18.
312. Might, the past tense of may, was originally used in the
sense of "was able " or " could."
" He was of grete elde and might not travaile." — R. Brunnk.
So "That mought not be distinguish'd. " — 3 Hen. VI. v. 2. 45.
" So loving to my mother,
That he might not beteem the winds of heaven
Visit her face too roughly." — Hamlet , i. 2. 141.
i,e. *^ could not bring himself to allow the winds," &c.
222 SHAKESPEARIAN GRAMMAR,
It answers to "can" in the following : —
*^ Aug. Look, what I will not that I cannot do.
fsa/K But mig/U you do't, and do the world no wrong ? "
M. for M. ii. 2. 52
'' Might you not know she would do as she has done ?"
A. W. iii. 4. 2.
i.e. ** Could yo\x not know."
** I might not this believe
Without the sensible and true avouch
Of mine own eyes." — Hamlet^ i. i. 5&.
** But I viight see young Cupid's fier)'' shaft quench'd in the chaste
beams of the wat'ry moon. " — M. N. I>. ii. i. 161.
** In that day's feats,
When he might act the woman in the scene,
He proved best man i' the field." — Coriol. ii. 2. 100.
i.e. **when he was young enough to be able to play the part of a
woman on the stage."
Might naturally followed may through the above-mentioned
changes. Care must be taken to distinguish between the indicative
and the conditional use of might. **How might that be?" (indica-
tive) would mean "How was it possible for that to take place?"
On the other hand, " How might that be ?" (subjunctive) wrould mean
" How would it be possible hereafter that this should take place? "
The same ambiguity still attends "could." Thus "How could
I thus forget myself yesterday !" but " How could I atone to-morrow
for my forgetfulness yesterday ? "
313. May, Might, like other verbs in Elizabethan English, are
frequently used optatively. We still use may thus,, as in "May he
prosper ! " but seldom or never might. But it is clear that —
"Would I might
But ever see that man," — Temp. i. 2. 168.
naturally passes into *^' Might I but see that man," Thus we have —
" Lord worshipped viight he be." — M. of V. ii. 2. 98.
314. Must (E. E- moste) is the past tense of the E. E. present
tense mot, which means "he is able," "he is obliged." From
meaning "he had power to do it," or "might have done it," the
word came to mean "ought," and it is by us generally used witli
a notion of compulsion. But it is sometimes used by Shakespeare to
VERBS, AUXILIARY. 223
mean no more than definite futurity, 'ike our "is to" in "He
is to be here to-morrow. "
** He must fight singly to-morrow with Hector, and is so pro-
phetically proud of an heroical cudgelling that he raves in saying
nothing/' — Tr. and Cr. iii. 3. 247.
So, or nearly so, probably in
" Descend, for you must be my sword-bearer."
M. of V. ii. 6. 40.
And somewhat similar, without the notion of compulsion, is the use
in M. of V. iv. I. 182 ; M. N. D. ii. i. 72.
It seems to mean "is, or was, destined" in
"And I must he from thence." — Macbeth, iv. 3. 212.
So "A life which must not yield
To one of woman born," — lb. v. 8. 12.
315, Shall. Shall for will. Shall meaning "to owe" is con-
nected with "ought," "must,"* "it is destined."
Thus,
" If then we shall shake off our slavish yoke,
Imp out our drooping country's broken wing.
Away with me.''— Rich. II. ii. 2. 291.
i.e. " if we are to, ought to."
"Fair Jessica shall be my torch-bearer." — M. of V. ii. 4. 40.
i.e. "is to be."
Hence shall was used by the Elizabethan authors with all three
persons to denote inevitable futurity without reference to "will"
(desire).
"If much you note him,
You shall offend him and extend his passion." — Macb, iii. 4. 67.
i.e. " you are sure to offend him."
So probably,
"Nay, it wz7/ please him well, Kate, it shall {is sure to) please him."
Hen. V. V. 2. 369.
" My country
Shall have more vices than it had heioxe." -—Macb. iv. 3. 47.
" And, if I die, no man shall pity me." — Rich. III. v. 3. 2'''1.
i.e. "it is certain that no man will pity me."
* " Thou shalt not." &c
224 SHAKESPEARIAN GRAMMAR.
There is no notion of compulsion on the part of the person
speaking in
*' They shall (are sure to) be apprehended by and by."
Hen. V. ii. 2. 2
"If they do this (conquer),
As, if please God, they shall (are destined to do)."
Hen. V. iv. 3. 120.
The notion of necessity, must^ seems to be conveyed in
** He that parts us shall bring a brand from heaven,
And fire us hence like foxes." — Lear, v. 3. 22.
In ** He shall wear his crown," — J. C. i. 3. 87.
:hall means ** is to. " So in
" Your grace jy^a// understand." — M. ofV. iv. i. 149.
** What is he that shall (is to) buy ? "— ^. K Z. ii. 4. 88.
** Men shall deal unadvisedly sometimes."
Rich. III. iv. 4. 292.
i.e. "men cannot help making mistakes."
** He that escapes me without some broken limb shall (must, will
have to), acquit him well." — A. V. L. i. i. 134.
" K. Desire them all to my pavilion.
Glost. We shall, my lord." — Hen. V. iv. I. 27.
In the last passage, " I shall" has a trace of its old meaning, " I
ought:" or perhaps there is a mixture of "I am bound to" and
" I am sure to." Hence it is often used in the replies of inferiors to
superiors.
** King Henry. Collect them all together at my tent :
I'll be before thee.
Erpingham. I shall do't, my lord." — Hen. V. iv. 1. 305.
** Fear not, my lord, your servant shall do so."
M. N. D. ii. I. 268.
So A. W. V. 3. 27 ; A. and C. iii. 12. 36, iv. 6. 3, v. i. 3 ;
Hen. V. iv. 3. 126 ; M. for M. iv. 4. 21 ; A. and C. v. i. 68.
" You shall s,&Q, find," ice, was especially common in the mean-
, ing "you may," "you will," applied to that which is of common
\ occurrence, or so evident that it cannot but be seen.
[ " You shall vazxk
\ Many a duteous and knee-crooking slave,
Tliat, doting on his own obsequious bondage.
Wears out his time. Whip me such honest knaves."
Othello, i. I. 440.
VERBS, AUXILIARY. ««S
Shall is sometimes colloquially or provincially abbreviated into
scy s:
"Thou'f hear our counsel." — R. and J. i. 3. 9.
"IVtry." — Lear, iv. 6. 246. (See 461.)
316. Will. You will. He will. Later, a reluctance to apply
a word meaning necessity and implying compulsion* to a person
addressed (second person), or spoken of (third person), caused post-
Elizabethan writers to substitute -imll for shall with respect to the
second and third persons, even where no will at all, i.e. no purpose,
is expressed, but only futurity. Thus unll has to do duty both as
will proper, implying purpose, and also as will improper, implying
merely futurity. Owing to this unfortunate imposition of double
work upon will^ it is sometimes impossible to determine, except
from emphasis or from the context, whether will signifies purpose
or mere futurity. Thus (i) "He zvill come, I cannot prevent
him," means " He wills (or is determined) to come ;" but (2) " He
ic'j// come, though unwillingly," means *' His coming is certain."
Will is seldom used without another verb :
"I zw7/ no reconcilement." — Hamlet, v. 2. 258.
So in **I will none of it." (See 321.)
317. Shall. You shall. He shall. On the other hand shall,
being deprived by will of its meaning of futurity, gradually took up
the meaning of compulsory necessity imposed by the first person on
the second or third. Thus: "You shall not go," or even "You
shall find I am truly grateful." (Not "you will find," but "1
will so act that you shall perforce find," &c.)
The prophetic shall ("it shall come to pass ") which is so common
in the Authorized Version of the Bible, probably conveyed to the ori-
ginal translators little or nothing more than the meaning of futurity.
But now with us the prophetic shall implies that the prophet iden-
tifies himself with the necessity which he enunciates. Thus the
Druid prophesying the fall of Rome to Boadicea says —
" Rome shall perish." — Cowper.
* Coriol. Hi. 1. 90, "Mark you his absolute 'shall.'" A similar (eeling sn^.
gested the different metliods of expressing an imperative in Latin and Greek
and the substitution of the optative with av for the future in Greek.
226 SHAKESPEAklAN GRAMMAR.
318. Shall. I shall. When a person speaks of his own future
actions as inevitable, he often regards them as inevitable only
because fixed by himself. Hence " I shall not forgive you " means
simply, "/ have fixed not to forgive you;" but "I shall be
drowned," " My drowning '\% ^xt^.^^ (See 315.)
319. Will. '^Iwill.^' Some passages which are quoted to prove
that Shakespeare used will with the first person without implying
wish, desire. Sec, do not warrant such an inference.
In Hamlet, v. 2. 183, "I will win for him, if I can ; if not, I will
gain nothing but my shame and the odd hits," the will is probably
used by attraction with a jesting reference to the previous ^^will :"
"My purpose is to win if I can, or, if not, to gain shame and the
odd hits."
** There is no hope that ever I will stay
If the first hour I shrink and run away." — I Hen. VI. iv. 5. 30.
t.e. ** There is no hope of my ever being willing to stay."
**I7/dowellyet."— (T^r/t?/. iv. i. 21,
i.e. '* I intend to do well yet."
" T will not reason what is meant hereby,
Because I will (desire to) be guiltless of the meaning."
Rich. III. i. 4. 95.
In "I will sooner have a beard grow in the palm of my hand
than he shall get one on his cheek," — 2 Ileti. IV. i. 2. 23.
there is a slight meaning of purpose, as though it were, "I will
sooner make a beard grow," derived from the similarity in sound
of the common phrase " I will sooner die, starve, than, &c."
In *' Good argument, I hope, we zvill not fly," — Hen. V. iv. 3. 113.
the meaning appears to-be "good argument, I hope, that we have
no intention of flying."
There is a difliculty in the expression "perchance I will ;" ])ut,
from its constant recurrence, it would seem to be a regular idiom.
Compare the following passages : —
^^ Ferchatice, lago, I will ne'er go home." — Othello, v. 2. 197.
^^ Perchance I will he there as soon as you." — C. of E. iv. I. 39.
*' Perhaps I w/// return immediately." — M. of V. ii. 5. 52.
In all these passages " perchance" precedes, and the meaning seems
to be in the last example, for instance : " My purpose may, perhaps,
be fulfilled," and "my purpose is to return immediately," or, in
VERBS, AUXILIARY. 227
other words, "If possible, I intend to return immediately.'* In
all these cases, the "perhaps" stands by itself. It does not qualify
"will," but the whole of the following sentence.
In •' I zvill live to be thankful to thee for't,"— Z N. iv. 2. 88.
the will refers, not to live, but to "live-to-be-thankful," and the
sentence means ^^1 purpose in my future life to prove my thank-
fulness."
320. Will is sometimes used with the second person (like the
Greek optative with 6.v) to signify an imperative. It is somewhat
ironical, like our ** You will be kind enough to be quiet." Perhaps
originally an ellipsis, as in Greek, was consciously understood,
"You ^vill be quiet (if you are wise)," &c.
" YouV/ leave your noise anon, ye rascals." — Hen. VIII. v. 4. 1.
In " Gloucester, thou ivilt answer this before the pope,"
I Hen. VL i. 3. 52.
there is no imperative, but there is irony.
On the other hand, "you «////," perhaps, means "you are willing
and prepared" in :
" Portia. You know I say nothing to him : he hath neither Latin,
French, nor Italian, and you will come into court and swear that
I have a poor pennyworth in the English." — M. of V. i. 2, 75.
321. Will, with the third person. Difficult passages.
The following is a perplexing passage : —
"If it xoill not be (/.<?. if you will not leave me) I'll leave you." —
M. Ado, ii. I. 208.
Here the meaning seems to be " if it is not to be otherwise," and
in Elizabethan English we might expect shall. But probably "it"
represents fate, and, as in the phrase, "come what will" the future
is personified : "If fate will not be as I would have it." And this
explains
" What shall become of (as the result of) this? What will this
do?"— i^/. Ado, iv. I. 211.
The indefinite unknown consequence is not personified, the
definite project is personified. " What is destined to result from this
project ? What does this project intend to do for us ?"
"My eye will scarcely see it," — Hen. V. ii. 2. 104.
means " can scarcely be induced to see it."
Q 2
228 SHAKESPEARIAN GRAMMAR.
*' lie wilV^ means "he will have it that," " he pretends," in
** This is a riddling merchant for the nonce ;
He will be here, and yet he is not here." — i Hen. VI. ii. 3. 58.
In *' She'// none of me,"— 71 N. i. 3. 113.
"will" means "desires," "none" "nothing," and "of" "as
regards" (173), "to do with."
322. Should. Should is the past tense of shall^ and underwent
the same modifications of meaning as shall. Hence should is not
now used with the second person to denote mere futu;-ity, since it
suggests a notion, if not of compulsion, at least of bounden duty.
But in a conditional phrase, " If you should refuse," there can
be no suspicion of compulsion. We therefore retain this use of
shoidd in the conditional clause, but use would in the consequent
clause :
" If you should refuse, you wotild do wrong."
On the other hand, Shakespeare used should in both clauses :
" You j/^<7«/^ refuse to perform your father's will if you shoula
refuse to accept him." — M. of V. i. 2. 100.
And shotdd is frequently thus used to denote contingent futurity.
" They told me here, at dead time of the night,
Ten thousand swelling toads, as many urchins ,
Would make such fearful and confused cries,
As any mortal body hearing it
Should %ix^\^\t fall mad."— 7'. A. ii. 3. 102, 104.
"Would" = " were in the habit. " Comp. i<j)i\ovy.
" (In that case) Strength should he lord of imbecility,
And the rude son sJioidd strike the father dead ;
Force should he right."— TV. and Cr. i. 3. 114.
323. Should for ought. Shotdd, the past tense, not being so
imperious as shall, the present, is still retained in the sense oi ought,
applying to all three persons. In the Elizabethan authors, however,
it was more commonly tlius used, often where we should use ought:
" You shoidd be women ;
And yet your beards forbid me to interpret
That you are so. " — Macbeth, i. 3. 45,
" So shouldht look that seems to speiik things strange.''
3. i. 2, -10.
' ' I should report that which I say I saw,
EuL know not how to do it." — lb. v. 5. 31.
VERBS. AUXILIARY. 229
*' Why 'tis an office of discovery, love,
And I should be obscured. " — M. of V. ii. 6. 44.
z.?, " A torch-bearer's office reveals (439) the face, and mine ought to
be hidden."
324. Should is sometimes used as though it were the past tense
of a verb " shall," meaning ** is to," not quite "ought." Compare
the German "soUen."
"About his son that should (was to) have married a shepherd's
daughter."—/^ T. iv. 4. 795.
" Tlie Senate heard them and received them curteously, and the
people the next day should (were to) assemble in counsell to gi\e
them audience. " — N. P. Alcibiades, 1 70.
In the following, should is half-way between the meaning of
"ought" and "was to." The present, shall, or "am to," might
be expected ; but there is perhaps an implied past tense, "I (you
said) was to knock you. "
" Petruchio. And rap me well, or I'll knock your knave's pate.
Grumio. My master is grown quarrelsome : I should knock you,
And then I know after who comes by the worse. "
T. ofSh. i. I. 131.
325. Should was hence used in direct questions about the past,
where shall was used about the future. Thus, " How shall the
enemy break in?" i.e. "How is the enemy to break in?" became,
when referred to the past, " How was the enemy to break in ?"
" I was employ'd in passing to and fi-o
About relieving of the sentinels.
Then how or which way should they first break in ?"
I Hen. VL ii. i. 71.
" What ^/^^^//^ this mean?"— ^^. VIII iii. 2. 160.
I.e. " what woj this (destined, likely) to mean?" It seems to in-
crease the emphasis of the interrogation, since a doubt about the
past (time having been given for investigation) implies more per-
plexity than a doubt about the future. So we still say, "Who could
it be?" " How old might you be ?"
" What should h% in that Csesar?"— y. C. i. 2. 142.
«.<?. "what £-^«/t/ there be," " what wz^/// there be. " "Shall," "may,'*
aad the modem " can," are closely connected in meaning.
" Where shouldht have this gold?"— r. of A. iv. 3. 398.
230 SHAKESPEARIAN GRAMMAR.
In the following instance, should depends upon a verb in the
present ; but the verb follows the dependent clause, which may,
therefore, be regarded as practically an independent question.
** What it should he ... I cannot dream of" — Ha7nlet, ii. 2. 7.
But also
*' Put not yourself into amazement how should these things be."
M. for M. iv. 2. 220.
326. Should was used in a subordinate sentence after a simple
past tense, where shall was used in the subordinate sentence
after a simple present, a complete present, or a future. Hence
we may expect to find should more common in Elizabethan
writers than with us, in proportion as shall was also more common.
We say "I will wait till he comes," and very often, also, "I in-
tended to wait till he came." The Elizabethans more correctly, *' I
will wait till he j/^a// come ; " and therefore, also, "I intended to
wait till he should come." Thus, since it was possible to say ** I
ask that I shall slay him," Wickliffe could write " T\\e,y axeden of
Pilate that thei schulden sle hym " {Acts yX\\. 2%)', *^They aspiden
hym that thei schulden fynde cause " {Luke vi. 7). In both cases
we should now say "might."
So «' She rephed.
It should be better he became her guest," — A. and C. ii. 2. 226.
" Thou knew'st too well
My heart was to thy rudder tied by the strings,
And thou shouldst tow me after." — lb. iii. ii. 58.
The verb need not be expressed, as in
*' A lioness lay crouching . . . with cat-like watch.
When that the sleeping man should %\\xy — A. Y. L. iv. 2. 117.
** She has a poison which shall kill you," becomes
" She did confess she had
For you a mortal mineral, which being took
Should hy the minute feed on life." — Cymb. v. 5. 51.
This perhaps explains
** Why, 'tis well known that whiles I was protector.
Pity was all the fault that was in me.
For I should melt at an offender's tears,
And lowly words were ransom for their fault. "
2 Hen. VI. iii. I. US.
VERBS, AUXILIARY. 231
** All my fault is that I shall melt (am sure to melt)," would be-
come " all my fault was that I should vc\.€A. ;" "for" meaning *' for
that" or "because."
" And (Fol.) if an angel should have come to me,
And told me Hubert should put out mine eyes,
I would not have believed him." — K. J. iv. i. 68-70.
Here, since the Elizabethans could say "Hubert shall" they can
also say " he told me Hubert should."
So since the Elizabethans could say ** To think that deceit sfiall
steal such gentle shapes," they could also say, regarding the subor-
dinate clause as referring to the past,
** Oh, that deceit should siedl such gentle shapes!"
Rich. III. ii. 2. 27.
" Good God, (to think that) these nobles should such, stomachs
bear!"— I ffejt. VI i. 3. 90.
327. " Should have " with the second and third persons.
The use of ^^ should have " with the second and third persons is to be
noted. It there refers to the past, and the should simply gives a
conditional force to "have." It is incongruous to use should in con-
nection with the past, and hence we now say " If an angel had come"
in this sense. When we use " should haxe," it refers to a question
about the past which is to be answered in the future. "If he should
have forgotten the key, how should we get out," i.e "if, when he
comes, it should turn out that he had forgotten." Compare, on the
other hand, th« Shakespearian usage.
" Gods, if you
Should have ta'en vengeance on my faults, I never
Had lived to put on this." — Cymb. v. i. 8.
In M. Ado, ii. 3. 81, the " shovild have " is inserted, not in the
conditional clause, but in a dependent relative clause. "If it had
been a dog that should have howled thus, they would have killed
328. " Should," denoting a statement not made by the
speaker. (Compare "sollen" in German.) There is no other
reason for the use of should in
" But didst thou hear without wondering how thy name should be
so hanged and carved about these t'-ees." — A. V. L. iii. 2. 182.
232 SHAKESPEARIAN GRAMMAR.
Should seems to indicate a false stoiy in George Fox's Journal :
*' From this man's words was a slander raised upon us that the
Quakers should deny Christ," p. 43 (Edition 1765). "The priest
of that church raised many wicked slanders upon me : ' That I rode
upon a great black horse, and that I should give a fellow money to
follow me when I was on my black horse. ' "
** Why should you think that I should woo in scorn ? "
M. N. D. iii. 2. 122.
329. Would for will, wish, require. Would, like should,
could, ought, (Latin* "potui," "debui,") is frequently used con-
ditionally. Hence "I would ht. great" comes to mean, not "I
wished to be great," but "I wished (subjunctive),"/.^. "I should
wish." There is, however, very little difference between "thou
wouldest wish" and "thou wishest," as is seen in the following
passage : —
" Thou wouldst (wishest to) be great,
Art not without ambition, but without
Tlie illness should (that ought to) attend it : what thou
wouldst highly
That thou wouldst holily, tvouldst not play false,
And yet W(?«/</j/ wrongly win. " — Macbeth, i. 5- 20.
As zvill is used for *'will have it," "pretends," so would means
"pretended," *^ wished io prove."
" Sl.\e that wotdd be your wife." — C. of E. iv. 4. 152.
i.e. " She that wished to make out that she was your wife."
So " One that w^/^A-/ circumvent God. " — Haitilet, v. i. 87.
Applied to iiianimate objects, a " wish " becomes a " requirement :"
"I have brought
Golden opinions from all sorts of people.
Which would (require to) be worn now in their newest gloss."
Macbeth, i. 7. 32.
"Words
Which «;^z^/</ (require to) be howled out in the desert air."
lb. iv. 3. 194.
" And so he goes to heaven.
And so am I revenged. That would (requires to) be scann'd. "
Hamlet, iii. 3. 75.
" This would (requires to) be done with a demure abasing of
your eye sometimes." — B. E. 92.
♦ Madvig, 348. X.
VERBS, AUXILIARY, 233
It is a natural and common mistake to say, " Would is used for
suould, by Elizabethan writers."
Would is not often used for " desire " with a noun as its object :
"If, duke of Burgundy, you would the peace."
Hen. V. V. 2. 68.
330. Would often means "liked," " was accustomed. " Com-
pare i(j)l\€i.
" A little quiver fellow, and a' would manage his piece thus :
and a' would about and about, and come you in and come you out ;
rah-tah-tah would a' say, bounce would a' say : and away again
would a' go, and again would a' come. " — 2 Heji. IV. iii. 2. 200.
** It (conscience) was wont to hold me only while one would tell
twenty."— iV/r/^. ///. i. 4. 122.
** But still the house affairs would draw her hence."
Othello, i. 3. 147.
So, though more rarely, will is used for **is accustomed."
" Sometimes a thousand twangling instruments
WzUhvLTO. about mine ears." — Tempest, iii. 2. 147.
331. " Would " not used for " should." Would seems on a
superficial view to be used for should, in
" You amaze me ; I would have thought her spirit had been
invincible against all assaults of affection." — M. Ado, ii. 3. 119.
But it is explained by the following reply : "I would \i^yQ. sworn it
had," i.e. ** I was ready and willing to swear." So, ** I was willing
and prepared to think her spirit invincible. "
So in ** What power is in Agrippa,
If I woidd say, * Agrippa, be it so, '
To make this good ?" — A. and C. ii. 2. 144.
*If I would sa.y" means *' If 1 wished, were disposed, to say."
** Alas, and would you take the letter of her ?" — A. W. iii. 4. 1.
i.e. ** Were you willing," " Could you bring yourself to."
To take would for should would take from the sense of the
followmg passage :
" For I mine own gain'd knowledge should profane
If I would time expend with such a snipe,
But for my sport and profit." — Othello, i. 3. 390.
t-c. "If I were willing to expend."
234 SHAKESPEARIAN GRAMMAR,
IVould probably means ** wish to "or " should like to," in
" You could, for a need, study a speech which I would set down
and insert in't, could you not ?" — Hamlet, ii. 2. 567.
In '^ Prince, "What wouldest thou think of me, if I should weep?
Poins. I would think thee a most princely hypocrite. "
2 Hen. IV. ii. 2. 59.
the second would is attracted to the first, and there is also a
notion of determination, and voluntary * ' making up one's mind " in
the reply of Poins.
So "be triumphant" is equivalent to "triumph," in whicJi willing-
ness is expressed, in
** Think you, but that I know our state secure,
I woiddbe so triumphant as I am?" — Rich. III. iii. 2. 84.
i.e. " think you I would triumoh as I do ? "
In "I would be sorry, sir, but the fool should be as oft with your
master as with my mistress," — T. N. ni. i. 44.
it must be confessed there seems little reason for would. Inasmuch,
however, as the fool is speaking of something that depends upon
himself, i.e. his presence at the Count's court, it may perhaps be
explamed as "I would not willingly do anything to prevent," &c.,
just as we can say "I would be loth to offend him," in confusion
between "I should be loth to offend him" and **I would not
willingly, or I would rather not, offend him. "
In " And how unwillingly I left the ring,
When nought would ho. accepted but the ring,"
M. of V.\. I. 197.
there seems, as in our modem ^^ TioXkivag would content him but,"
some confusion between "he ivotild accept nothing" and "nothing
could make itself acceptable. "
VERBS, INFLECTIONS OF.
332. Verbs : Indicative Present, old forms of the Third
Person Plural. There were three forms of the plural in Early
English — the Northern in es, the Midland in en, the Southern in eth :
*' tliey hop-(fj," " they hop-^/?, " " they hop-i?//z. " The two former
forms (the last in the verbs " doth," " hath," and possibly in others)
are found in Shakespeare. Sometimes they are used for the sake
of the rhyme j sometimes that explanation is insufficient :
VERBS, INFLECTIONS OF. 235
En. — "Where, when men he-en, there's seldom ease."
Pericles, ii. Gower, £8.
** O friar, these are faults that are not seen,
Ours open and of worst example be-^«." — B. J. S Sh. i, 2.
"All perish^w of men of pelf,
Ne aught escap^« but himself" — Pericles, ii. Gower, 36.
"As fresh as bin the flowers in May." — Peele.
"Words fear^w (terrify) babes." — Spens. F. Q.
"And then the whole quire hold their hips and laugh,
And waxen in their mirth." — M. N. D. ii. I. 56.
This form is rarely used by Shakespeare, and only archaically.
As an archaic form it is selected for constant use by Spenser.
333. Third person plural in -S. This form is extremely
common in the Folio. It is generally altered by modern editors, so
that its commonness has not been duly recognized. Fortunately,
there are some passages where the rhyme or metre has made altera-
tion impossible. In some cases the subject-noun may be con-
sidered as singular \xvJhonght, e.g. " manners, " &c. In other cases
the quasi-singular verb precedes the plural object ; and again, in
others the verb has for its nominative two singular nouns or an
antecedent to a plural noun (see 247). But though such instances
are not of equal value with an instance like "his tears runs down,"
yet they indicate a general predilection for the inflection in -s which
may well have ariseii from the northern E. E. third person plural
in -s.
" The venom clamours of a jealous woman
Poisons more deadly than a mad dog's tooth."
C. ofE. v. I. 69.
"The great man down, you mark his favourites y?/(?j,
The poor advanced makes friends of enemies."
Hamlet, iii. 2. 214-5.
Here the Globe reads "favourite;" completely missing, as it seems
to me, the intention to describe the C2'0%vd of favourites scattering in
flight from the fallen patron.
"The extreme parts of time extremely /t?rwj
All causes to the purpose of his will." — L. L. L. v. 2. 750.
*' Manners" is, perhaps, used as a singula..' in
"What manners is in this?" — P. and y. v. 3. 214.
"Which very manners urges.^' — Lea7% v. 3. 234.
So " Whose church-like humours yf/j not for a crown."
2 Hen. VI. L i. 247.
236 SHAKESPEARIAN GRAMMAR.
" Riches" may, perhaps, be considered a singular noun (as it is by
derivation, " richesse ") in
"The riches of the ship is come ashore." — Othello, ii. i. 83.
But not
" My old bones aches'^ (Globe, ache). — Tempest, iii. 2. 2.
" His tears runs down his beard like winter-drops" (Globe, rujt).
lb. V. I. 16.
*' We poor unfledg'd
Have never wing'd from view 0' the nest, nor kncnvs not
What air's from home" (Globe, knoiv). — Cymb. iii. 3. 27.
** And worthier than himself
Here tends (Globe and Quarto, tend) the savage strangeness he
puts on.
Disguise the holy strength of their command," &c.
Tr. and Cr. ii. 3. 135.
** These naughty times
Puts (Globe, put) bars between the owners and their rights."
AI. of V. iii. 2. 19.
•* These high wild hills and rough uneven ways
Draws out our miles, and makes them wearisome."
Rich. II. ii. 3. 5.
* ' Not for all the sun sees, or
The close earth wombs, or the profound seas hides.''''
(Globe, sea.)—W. T. iv. 4. 501.
** The imperious seas breeds monsters" (Globe, breed).
Cymb. iv. 2. 36.
" Untimely storms makes men expect a dearth " (Globe, make).
Rich. Ill ii. 3. 33.
Numbers, perhaps, sometunes stand on a different footing :
"Eight yards of uneven ground is three score and ten miles
afoot w'ith me." — i Hen. IV. ii. 2. 28.
i.e. "A distance of eight yards ;" and compare
*' Three /fl!r/j- of him is ours already." — y. C. i. 3. 154.
" Two of both kinds makes up four." — M. N. D. iii, 2. 438.
But no such explanation avails in
** She lifts the cofFer-lids that close his eyes.
Where, lo ! two lamps burnt out in darkness lies."
V. and A. 1 1 28.
" Whose own hard dealings teaches them suspect
The deeds of others."— J/. ofV. i. 3. 163.
" Those pretty wrongs that liberty commits
^ Thy besuty and thy years full well befits," — ionn. 41.
VERBS, INFLECTIONS OF. 237
There is some confusion in
"Fortune's blows
"When most struck home, being gentle wounded craves
A noble cunning." — Coriol. iv. 4. 8.
On the whole, it is probable that though Shakespeare intended to
make "blows " the subject of *' craves," he afterwards introduced a
new subject, "being gentle," and therefore "blows" must be con-
sidered nominative absolute and "when" redundant: " Fortune's blows
(being) stnick home, to be gentle then requires a noble wisdom."
" Words to the heat of deeds too cold breath' ^/V^j,"
Macbeth, ii. i. 61.
in a rhyming passage.
It is perhaps intended to be a sign of low breeding and harsh
writing in the play of Pyramus and Thisbe.
"Thisbe, the flowers of ods>MX% savours sweet."
M. N. D. iii. I. 84.
334. Third person plural in -th.
"Those that through renowne hath ennobled their life."
Mox\TAiGNE, 32.
See, however. Relative, 247.
"Their encounters, though not personal, hath been royally
encountered" (Globe, Aaz/*?). — W. T. i. 1. 29.
"Where men enforced doth speak anything." — M. ofV. iii. 2. 33.
''Hath all his ventures fail'd?" (Globe, have.)— lb. iii. 2. 270.
This, however, is a case when the verb precedes the subject. (See
below, 335.)
335. Inflection in -s preceding a plural subject. Passages
in which the quasi-singular verb precedes the plural subject stand
on a somewhat different footing. When the subject is as yet future
and, as it were, unsettled, the third person singular might be regarded
as the normal inflection. Such passages are very common, parti-
cularly in the case of " There is," as —
" There is no more such masters." — Cymb. iv. 2. 371.
" There was at the beginning certaine light suspitions and accu
sations put up against him." — N. P. 173.
" Of enjoin'd penitents there'j- four or five." — A. W. iii. 5. 98.
"The spirit upon whose weal depends and rests
The lives of many. " — Hamlet, iii. -j. 14.
2.38 SHAKESPEARIAN GRAMMAR.
"Then what iniends these forces thou dost bring?"
2 Hen. VI. V. I. 60.
, t "There is no woman's sides can," &c. — T. N. ii. 4. 96.
' **/j there not charms?" — Othello, \. I. 172.
"/jr all things well?"— 2 Hen. VI. iii. 2. 11.
** Is there not wars? Is there not employment ?"
2 Hen. IV. \. 2. 85.
So I Hen. VI iii. 2. 123 ; R. and J. i. i. 48 ; 2 Hen. IV. iii. 2.
199 ; 1 Hen. VI iii. 2. 9; //m. v. 2. 4. 1.
" Here ^^w^j the townsmen." — 2 ^if«. VI. ii. i. 68.
"Here comes the gardeners" (Globe, <r^w^). — Rich. II. iii. 4. Ii.
"There co;nes no swaggerers here." — 2 /i^;z, /K ii. 4. 83.
This, it is true, comes from Mrs, Quickly, but the following are
from Posthumus and Valentine :
"How comes these staggers on me?" — Cymb. v. 5. 233.
" Far behind his worth
Co?nes all the praises that I now bestow." — T. G. of V. ii. 4. 72.
And in the Lover's Complaint^ where the rhyme makes alteration
impossible :
" And to their audit comes
Their distract parcels in combined sums." — Z. C. 230.
" What cares these roarers for the name of king?" — Temp. i. I. 17.
'^Theie grows all herbs fit to cool looser flames."
B. and F. F. Sh. i. i.
"There zvas the first gentlemanlike tears that ever we shed."
W. T. V. 2. 155.
^^ Has his daughters brought him to this pass?" (Globe, have.)
Lear, iii. 4. 65.
'* What w^««j your graces?" (Globe, mean.) — lb. iii. 7. 30.
" But most miserable
Zf the desires that'j (247) glorious" (Globe, desire). — Cymb. i. 6. 6.
(" Few" and "more" might, perhaps, be considered nouns in
" Here'j a few flowers. " — Cyinb. iv. 2. 283.
" There ts no more such masters." — lb. iv. 2. 371.
A sum of money also can be considered as a singular noun :
" For thy three thousand ducats here is six," — M. of V. iv. I. 84,)
" There lies
Two kinsmen (who) digged their graves with weeping eyes. "
Rich. IL iii, 3. 168.
VERBS, INFLECTIONS OF. 230
** Sir, there lies such secrets in this fardell and box. "
W. T.\y A 783,
" At this hour
Lies at my mercy all mine enemies" (Globe, lie).
Tempest, iv. i. 2»;4.
336. Inflection in "s" with two singular nouns as
subject.
The inflection in s is of frequent occurrence also when two or
more singular nouns precede the verb :
" The heaviness and guilt within my bosom
Takes off my manhood," — Cymb. v. 2. 2.
"Faith and troth bids them."— TV. and Cr. iv. 5. 170.
** Plenty and peace breeds cowards." — Cymb. iii. 6. 21.
" For women's fear and love holds quantity." — Hamlei, iii. 2. 177.
'* Where death and danger dogs the heels of worth."
A. W. iii. 4. 15.
'* Scorn and derision never comes (Globe and Quarto, come) in
tears."— J/. N. D. iii. 2. 123.
"Thy weal and woe are both of them extremes,
Despair and hope makes thee ridiculous." — V. and A. 988.
" My hand and ring is yours." — Cymb. ii. 4. 57.
** O, Cymbeline, heaven and my conscience knows."
lb. iii. 3. 99.
** Hanging and wiving ^^^^j by destiny." — M. of V. ii. 9. 83.
*' The which my love and some necessity
Now lays upon you." — M. of V. iii. 4. 34.
337. Apparent cases of the inflection in '* s."
Often, however, a verb preceded by a plural noun (the appaient
nominative) has for its real nominative, not the noun, but the noun
clause.
"The combatants being kin
Half stints their strife before they do begin." — Tr. and Cr. iv. 5. 93.
i.e, "The fact that the combatants are kin."
" Whereon his brains still beating /«/j him thus
From fashion of himself." — Hamlet, iii. i. 182.
i.e, " The beatuig of his brains on this."
"And our ills told us
Is as our earing." — A. and C. i. 2. 115.
i.e. "The telling us of our faults is like ploughing us.''
240 SHAKESPEARIAN GRAMMAR.
•* And great affections wrestling in thy bosom
Doth make an earthquake of nobility." — K. J. v. 2. 42,
" To know our enemies' minds we 'Id rip their hearts :
(To rip) Their papers is more lawful. " — Lear, iv. 6. 266.
So in ** Blest be those,
How mean soe'er, that have their honest wills,
Which seasons comfort," — Cymb. i. 6. 8.
"which" has for its antecedent "having one's honest will."
Conversely, a plural is implied, and hence the verb is in the
plural, in
*' Men's flesh preserv'd so whole do seldom win."
2 Hen. VI. iii. i. 301.
i.e. " when men are too careful about their safety they seldom win.'*
'* Smile heaven (the gods, or the stars) upon this fair conjunction,
That long /z«z/^ frowned upon their enmity. " — Ric/i. III. v. 5. 21.
It may be conjectured that this licence, as well as the licence
of using the -s inflection where the verb precedes, or where the
noun clause may be considered the nominative, would in all proba-
bility not have been tolerated but for the fact that -s was still
recognized as a provincial plural inflection.
The following is simply a case of transposition :
** Now, sir, the sound that tells what hour it is
y^r^r clamorous groans." — Rich. II. v. 5. 56.
338. S final misprinted. Though the rhyme and metre
I establish the fact that Shakespeare used the plural verbal inflection
' in J, yet it ought to be stated that -s final in the Folio is often a
'■ mispruit. Being indicated by a mere line at the end of a word in
' MS. , it was often confused with the comma, full stop, dash or hyphen,
" Conies (,) shall we in T—T. of A. I i. 284.
"At that that I have kil'd my lord, a Flys.''—T. A. iii. 2. 53.
" Good man, these joyful tears show thy tme hearts."
Hen. VIII. v. 3. 175.
Conversely, in one or two places the dash or hyphen has usurped the
place of the s.
*' Unkle, what nmje—}"—i Hen. IV. v. 2. 30.
" With gobbets of thy Mother-bleeding \\^zxC
2 Hen. V7. iv. i. 85.
Sometimes (even without the possibility of mistake for a commu)
the -s is inserted :
VERBS, INFLECTIONS OF. 24'.
" Sir Protheus, yonr Fathers call's for you." — T. G.o/V. i, 3.88.
** Sawcie Lictors
Will catch at us like Strumpets, and scald Rimers
Ballads us out of tune." — A. and C. v. 2. 216.
Yet in many passages the -s is probably correct, though we should
now omit it, especially at the end of nouns. As we still use
"riches," "gains," almost as singular nouns, so Shakespeare seems
to have used "lands," "wars," "stones," "sorrows," "flatteries,"
"purposes," "virtues," "glories," "fortunes," "things," "at-
tempts," "graces," "treasons," "succours," "behaviours,"
"duties," "funerals," "proceedings," &c. as collective nouns.
In other cases there seems at least a method in the error. The -s
is added to plural adjectives and to adjectives or nouns depetident
upon nouns mflected in "j," as
"The letters /a^^«/j-."—AVf/^. //. ii. i. 202 (Folio).
It is common in E. E. for plural adjectives of Romance origin
to take the plural inflection. But see 430. The Globe reads
''patents'' in Rich. II. ii. 3. 130.
The following are selected, without verification, from Walker :
*' Kings Richards throne." — Rich. II. i. 3.
"Smooth and welcomes newes." — i Hen. IV. i. i.
''Lords Staffbrds death."— 75. v. 3.
"The Thicks-lips:'— Othello, I i.
A word already plural sometimes receives an additional plural
inflection :
"YoMX teethes."— J. C. y. I.
" Others faults."— 1 Hen. IV. v. 2.
"Men look'd . . . each at others." — Coriol. v. 5.
" Boths:'—T. A. ii. 4. " On others gxoundiS."— Othello, i. i.
339. Past indicative forms in U are very common in Shake-
speare. Thus, "sang" does not occur, while " sung " is common
as a past indicative. ' ' Sprang " is less common as a past tense than
"sprung" (2 Hen. IV. i. I. Ill) "Begun" [Hamlet, iii. 2. 220)
is not uncommon for " began," which is also used. We also find
" I drunk him to his bed." — A. and C. ii. 5. 21.
Past indicative tenses in u were common in the seventeenth
century, but the irregularity dates from the regular Early English
idiom.
R
242 SHAKESPEARIAN GRAMMAR.
In A.-S. the second person singular, and the three plural persons
of some verbs, e.g. " singan," had the same vowel u, while the first
and third persons singular had a. Hence, though the distinction
was observed pretty regularly in E. E., yet gradually the u and a
were used indiscriminately in the past tense without distinction of
person.
340. Second Person Singular in -ts. in verbs ending with
"/, -Usi final in the second person sing, often becomes -fs for euphony.
Thus: "Thou torments,'' Rich. II. iv. i. 270 (Folio); **Thou
requests" Rick. J II. ii. I. 98 (Folio); *Wevisits,'' Hamlet, i. 4. 53;
''splits,'' M. for M. ii. 2. 115; ''exists," lb. iii. i. 20 (Folio);
"solicites," Cymb. \. 6. 147 (Folio); " refts," Cymb. iii 3. 103
(Folio). "T^xoVl fleets," Sonn. 19 ; this is marked in
** What art thou call'j^ . . . and affrigh/j-?"
B. and F. F. Sh. iv. 1.
This termination in -s contains perhaps a trace of the influence of
the nortliem inflection in -s for the second pers. sing.
341, Past Indicative: -t for -ted. In verbs in which the
infinitive ends in -t, -ed is often omitted in the past indicative for
euphony.
** \fast and prayed for their intelligence." — Cymb. iv. 2. 347
** There they /i^/j/ uz."— Tempest, i. 2. 147.
** Plunged in the foaming brine and quit the vessel." — lb. 211.
** When service sweat for duty, not for meed." — A. KZ.ii.3.58.
•* Stood Dido . . . and waft her love
To come again to Carthage." — M. of V. v. i. 10.
Compare Hen. VIII ii. i. 33 ; M. of V. iii. 2. 205.
We find "bid " for "bided," i.e. "endured," in
"Endured of (by) her for whom you bid like sorrow."
Rich. III. iv. 4. 304.
• This is, of course, as natural as "chid," "rid," &c., which are
recognized forms. On the other hand, the termination in -ed is some-
times used for a stronger form :
"Ishaked."— Tempest, ii. i. 319.
342. Participle : -ed omitted after d and t. Some verbs
ending in -te, -t, and -d, on account of their already resembling parti-
VERBS, INFLECTIONS OF. 243
ciples in their terminations, do not add -ed in the participle. The
same rule, naturally dictated by euphony, is found in E. E. "If the
root of a verb end in -d or -/ doubled or preceded by another con-
sonant, the -de or -te of the past tense, and -d or -/ of the past par-
ticiple, are omitted."* Thus —
Acquit.—'' Well hast thou acquit Sh^t.^'—Rich. Ill v. 5. 3.
Addict. — Mirror for Magistrates (Nares).
Articulate. — "These things indeed you have articulate.''^
I Hen. IV. w. I. 12.
Betid.— Tempest, i. 2. 31.
Bloat{ed). — "Let the bloat Vvag tempt you." — Hamlet, iii. 4. 182.
Contract. — " He was contract to lady Lucy." — Rich, III. iii. 7. 179,
Degenerate. — "They have degenerate.^'' — B. E. 38.
Deject, — "And I of ladies most deject and wretched."
Hamlet, iii. i. 163.
Devote.— T. of Sh. i. i. 32.
Disjoint iox disjointed. — Hamlet, i. 2. 20.
Enshield. — " An ^«j^i^/</ beauty." — M. for M. ii. 4. 80.
Exhaust. — " Their means are less exhaust.'^ — B. E. 16.
Graft. — " Her noble stock ^^-^ with ignoble plants."
Rich. in. iii. 7. 127.
Compare "An /«^^/? infirmity." — Othello, ii. 3. 144.
Heat.— *' The iron of itself, though heat red-hot."— i^ J. iv. I. 61.
Hoist. — "For 'tis the sport to have the enginer
Htnst with his own petard. " — Hamlet, iii. 4. 207.
Infect. — " Many are infect.'' — Tr. and Cr. i. 3. 188.
Quit. — "The very rats instinctively have quit it." — Temp. i. 2. 147.
Suffocate. — " Degree is suffocate.'''' — Tr. and Cr. i. 3. 125.
Taint. — " Unspotted heart never yet taint with love."
I Hen. VI v. 3. 183.
Wed.— Hen. VIII iii. i. 141.
Waft. " A braver choice of dauntless spirits
Than now the English bottoms have wo/? o'er." -K. J.\\.\. 73.
Wet.-^Rich. Ill i. 2. 216.
WJiist (for " whisted," which is used by SuiTcy in the indicative).
" The wild waves whist.'" — Tempest, i. 2. 379.
* Morris, Specimens of Early English, xxxv
R2
244 SHAKESPEARIAN GRAMMAR.
I.e. " being w/^/j-/^r/ or made silent. " So, in imitation,
" The winds, with wonder tvhist.
Smoothly the waters kist." — MlLTON,/^w« on the Nativity
Words like "miscreate," Hen. V. i. 2. 16; "create," M. N. D.
V. I. 412, "consecrate," lb. 422, being directly derived from Latin
participles, stand on a different footing, and may themselves be
regarded as participial adjectives, without the addition of d.
343. Participles, Formation of. Owing to the tendency to
drop the inflection en, the Elizabethan authors frequently used the
curtailed forms of past participles which are common in Early
English : "I have spoke, forgot, writ, chid," he.
"Have you chose this man ? " — Coriot. ri. 3. 163.
Where, however, the form thus curtailed was in danger of being
confused with the infinitive, as in " taken," they used the past tense
for the participle :
Arose. — "And thereupon these errors are arose.''^ — C. ofE. v. I. 388.
Drove iox driven. — 2 Hen. VI. iii. 2. 84.
Eat. — "Thou . . . hast eat thy bearer up." — 2 Hen. IV. iv. 5. 165;
M. Ado, iv. I. 196.
Froze iox frozen. — C. of E. v. I. 313 ; 2 Hen. IV. i. i. 199.
Holp.—''^^ were . . . /^^^^ hither. "— 7>w/. i, 2. 63.
(In this case, however, the en is merely dropped. )
Took.—'' Where I have took them up."— 7. C. ii. i. 60.
Mistook. — " Then, Brutus, I have much mistook your passion."
lb. i. 2. 48.
Rode iox ridden. — 2 Hen. IV. v. 3. 98; Hen. V. iv. 3. 2.
Smit iox smitten.— T. of A. ii. i. 123.
Smote for smitten. — Coriol. iii. i. 319.
Strove for striven. — Hen. VIII. ii. 4. 30.
Writ.— Rich. II ii. I. 14.
Wrote iox written.— Lear, i. 2. 93; Cymb. iii. 5. 21.
Or sometimes the form in ed :
" O, when degree is shakedj*^ — Tr. and Cr. L 3. 101.
So Hen. V. ii. i. 124 ; Temp. ii. i. 39 ; I Hen. IV. iii. i. l7. But
shook for shaken is also common.
"The wind-j//^>^^^ surge. "—0//i^//(7, ii I. V6,
VERBS, INFLECTIONS OF. 245
** Ope" in "The gates are ^/^," Coriol. i. 4. 43, seems to be the
Btijective "open" without the -;/, and not a verb.
344. Irregular participial formations. The following are
iiregular : —
"You have jzf aw." — A. V. L. iv. i. 38.
"I \\2ive sJ>ake:'—Hen. VIII. ii. 4. 153.
'' Misbecomed." — L. L. L. v. 2. 778.
*'' Becomed." — Cymb. v. 5. 406.
"Which thou hast perpendicularly y^//." — Lear, iv. 6. 54.
" We had droven them home." — A. and C. iv. 7. 5.
** Sawn'''' for " seen" is found as a rhyme to "drawn," L. C. 91.
'' Striuken:'—C. of E. i.ii. 46 ; Z. Z. Z. iv. 3. 224 ; J. C.
iii. I. 209.
" When they axt/retten with the gusts of heaven."
M. of V. iv. I. 77.
''Sweaten:''— Macbeth, \v. l.^'i>. (So Quartos.)
Caught seems to be distinguished as an adjective from the participle
catch'd in
" None are so surely caught when they are catch^d
As wit turned fool." — Z. Z. Z. v. 2. 69.
The following are unusual : —
'' Splitted:'—C. ofE. i. I. 105, v. i. 308 ; A. and C. v. i. 24.
'' Beated:'—Sonn. 62.
The following are archaic : —
" Marcus, unknit that sorrow-wreathen knot." — T. A. iii. 2. 4.
'' Foughten:' —Hen. V. iv. 6. 18.
345. The participial prefix y- is only two or three times used
in Shakespeare's plays: "y-clept," "y-clad," "y-slaked." In
E. E. /- is prefixed to other forms of speech beside participles, like
the German gc-. But in Elizabethan English the y- was wholly
disused except as a participial prefix, and even the latter was
archaic. Hence we must explain as follows :
" The sum of this
Brought hither to Pentapolis
Vravished the regions round." — F. of T. iii. Gower, 35.
Shakespeare was probably going to write (as in the same speech,
line 1, '''' y slaked hath") ^^ yravished the regions hath," but the
necessity of the rhyme, and the diminished sense of the grammatical
force of the participial prefix, made him alter the construction.
246 SHAKESPEARIAN GRAMMAR.
The J- is used by Sackville before a present participle, "j-causing."
In M. of V. ii. 9, 68, and elsewhere, we find ** I wiss" apparently
for the old "y-wiss."
VERBS, MOODS AND TENSES.
346. Indicative simple present for complete present
with adverbs signifying "as yet," &c.
This is in accordantre with the Latin idiom, ** jampridem opto,"
&c., and it is explicable on the ground that, when an action con-
tinued up to the present time is still continuing, the speaker may
prefer the verb to dwell swiply on the fact that the action is present,
allowing the adverb to express the past continuousness :
** That's the worst tidings that I hear of yet. ''^
I Hen. IV. iv. i. 127.
*' Hoiv does your honour y2?r this many a day V^ — Havilet, iii. i. 91.
347. Simple past for complete present with " since," &c.
This is in accordance with the Greek use of the aorist, and it is
as logical as our more modern use. The difference depends upon
a difference of thought, the action being regarded simply as past
without reference to the present or to completion.
" I saw him not these many years, and yet
I know 'tis he." — Cymb. iv. 2. ^^.
"I saw not better sport these seven years' day." — 2 Hen. VI.
ii. I. 3.
' ' Since death of my dear'st mother
It did not speak before." — Cymb. iv. 2. 190.
" I did not see him since." — A. and C. i. 3. 1.
** I was not angry since I came to p" ranee
Until this instant." — Hen. V. iv. 7. 58.
"I can tell you strange news that you yet dreavied not of." —
M. Ado, i. 2. 4.
It will be noticed that the above examples all contain a negative.
The indefinite tense seems to have peculiar propriety when we are
denying that an action was performed at any time whate7jer. Hence
the contrast :
"Judges and senates have been bought with gold.
Esteem and love were never to be sold."
Pope, Essay on Man^ iv. rSj.
VERBS, MOODS AND TENSES. 247
But we Tiave also, without a negative,
'* And since I saw thee,
The affliction of my mind amends." — Tempest, v. i. 114.
The simple present is in the following example incorrectly com*
bined with the complete present. But the two verbs are so far
apart that they may almost be regarded as belonging to different
tentences, especially as *'but" may be regarded as semi-adversative.
"And never since the middle summer's spring
Mtt we . . . but . . . thou hast disturbed our sport. "
M. N. D. ii. I. 83-7.
On the other hand, the complete present is used remarkably in —
** D. Pedro. Runs not this speech like iron through your blood ?
Claud. I have drunk poison whiles he utter'd it. "
M. Ado, v. I. 253.
This can only be explained by a slight change of thought : "I
have drunk poison (and drunk [339] poison all the) while he spoke."
348. Future for Subjunctive and Infinitive. The future is
often used where we should use the infinitive or subjunctive.
A comparison of Wickliffe with the versions of the sixteenth cen-
tury would show that in many cases the Early English subjunctive
had been replaced by the Elizabethan "shall."
" And I will sing that they shall hear I am not afraid."
M. N. D. iii. I. 126.
** That you shall surely find him
Lead to the Sagittary the raised search." — Othello, i. 1. 158.
**That thou shalt see the difference of our spirits,
I pardon thee thy life before thou ask it." — M. ofV. iv. i. 368.
"Therefore in fierce tempest is he coming
That, if requiring fail, he w/// compel. " — Hen. F". ii. 4. 101.
Here, however (283), "so" maybe omitted before "that," i.e. "so
that he purposes compulsion if fair means fail. "
" Reason with the fellow,
Lest you shall chance to whip your information. "
Coriol. iv. 6. 53.
** If thou refuse and wilt encounter with my wrath."
W. T. ii. 3. 138.
** The constable desires thee theu wilt mind
Thy followers of repentance." — Hen. V. iv. 3. 84,
•• Will you permit that I shall s\.qxA condemn'd ?"
Rich. II. ii, 3 11^.
2^8 SHAKESPEARIAN GRAMMAR,
So with "for" used for "because" (117) in the sense of "in
order that."
** And, for the time shall not seem tedious,
I'll tell thee what befel me."— 3 Hen. VI. iii. I. 10.
As in Latin, the future is sometimes correctly and logically used
with reference to future occurrences ; but we find it side by side with
the incorrect and modem idiom.
" Farewell till we shall meet again." — M. of V. iii. 4. 40.
** He that outlives this day and co??ies safe home,
He that shall live this day and see old age. "
Hen. V. iv. 3-44
** All France will be replete with mirth and joy.
When they shall hear how we have play'd the men."
I Hen. VI i. 6. 16.
«* When they shall \novf."—Rich. II. i. 4. 49.
** If you shall ste Cordelia." — Lear, iii. i. 46.
** Till your strong hand shall help to give him strength."
K. y. ii. I. 33.
The future seems used (perhaps with reference to the original
meaning of ' * shall ") to signify necessary and habitual recurrence in
*' Good Lord, what madness rules in brain-sick men
When for so slight and frivolous a cause
Such factious emulations shall arise." — \Hen, VI. iv. 1. 113.
So " Men shall deal unadvisedly sometimes."
Rich. Ill iv. 4. 293.
349. Infinitive. *•' To " omitted and inserted, in Early
English the present infinitive was represented hy -en (A.-S. -an\ so
that "to speak" was "spek^w," and "he is able to speak" was
"he can spek^w," which, though very rare, is {o\m<\'vi\ Pericles, ii.
Prologue, 12. The -en in time became -e, and the -e in time became
mute ; thus reducing "sing-^«" to "sing." When the en dropped
into disuse, and to was substituted for it, several verbs which we
call auxiliary, and which are closely and commonly connected with
other verbs, retained the old licence of omitting to, though the
infinitival inflection was lost. But naturally, in the Elizabethan
period, while this distinction between auxiliary and non-auxiliary
verbs was gradually gaining force, there was some difference of
opmion as to which verbs did, and which did not, require the
"/<?,'* and in Early English there is much inconsistency in this
VERBS, MOODS AND TENSES. 249
respect. Thus in consecutive lines '* ought " is used without, and
"let" with, "/^."
" And though we owe the fall of Troy requite,
Yet let revenge thereof from gods to light."
Mirror for Magistrates (quoted by Dr. Guest).
"You ought not walk."— J. C. i. i. 3.
*' Suffer him speak no more." — B. J. Sejan. iii. 1.
*' If the Senate still command me serve." — lb. iii. i.
"The rest I wish thee gather."— i Hen. VI. ii. 5. 96.
"You were wont be civil." — Othello^ ii. 3. 190.
"I list not prophesy."—^ T. iv. i. 26.
" He thought have slaine her."— Spens. F. Q. i. I. 50.
" It forst him slacke. "— /<^. 19.
* Stay " is probably a verb in
"How long within this wood intend you (to) stay?"
M. N. D. ii. I. 138.
" Desire her (to) call her wisdom to her." — Lear, iv. 5. 35.
" As one near death to those that wish him (to) live."
A. W. ii. I. 134.
** What might'st thou do that honour would (wished) thee (to)
AoT'—Hen. V. Prologue, 18.
"That wish'd him in the barren mountains (to) starve."
I Hen. IV. i. 3. 159.
'60 M. for M. iv. 3. 138; M. Ado, iii. i. 42. Hence "overlook" is
probably not the subjunctive (see however 369) but the infinitive in
" Willing you (to) overlook this pedigree." — Hen. V. ii. 4. 90.
So after " have need :"
" Thou hadst need send for more money." — T. N. ii. 3. 99.
"Vouchsafe me speak a word." — C. of E. v. i. 282.
"To come view fair Portia." — M. of V. ii. 7. 43.
"We'll come dress you straight. "—^T/. W. of W. iv. 2. 80.
" I will go seek the Vmg.''— Hamlet, ii. i. 101.
We still retain a dislike to use the formal to after " go " and "come,"
which may almost be called auxiliaries, and we therefore say, ' ' 1
will come and see you."
We cannot reject now the to after "know" (though after thi?
word we seldom use the infinitive at all, and prefer to use tjje
conjunction "that"), but Shakespeare has
** Knowing thy heart (to) torment me with disdain."— i'^;m. £32.
250 SHAKESPEARIAN GRAMMAR.
A similar omission is found in
"That they would suffer these abominations
By our strong arms from forth her fair streets (to be) cha?ed/'
R. of L. 1634.
So "Because, my lord, we would have had you (to have) heard
The traitor speak. "—i^/V^. ///. iii. 5. 66.
To is inserted after "let" both in the sense of "suffer" and in
that of "hinder."
" And let (suffer) no quarrel nor no brawl to come."
T. N. V. I. 364.
** If nothing lets (prevents) to make us happy both." — lb. 256.
On the other hand, to is omitted after "beteem" in the sense of
"suffer:"
" He might not beteem the winds of heaven
Visit her face too roughly." — Hamlet^ i. 2. 142.
After "durst:"
" I durst, my lord, to wager she is honest." — Othello, iv. 2. 11.
The to is often inserted after verbs of perceiving, — "feel," "see,"
"hear,"&c.
"Who heard me to deny it?"— C. of E. v. I. 25.
" Myself have heard a voice to call him so,"
2 Hen. VI. ii. i. 94.
" Whom when on ground she grovelling saw to roll."
Spens. F. Q. v. 7. 32.
"Methinks I feel this youth's perfections
To creep in at mine eyes." — T. N. i. 5. 317.
" I had rather hear you to solicit that." — lb. iii. I. 120.
" To see great Hercules whipping a gig.
And profound Solomon to tmie a jig.
And Nestor //ay at push-pin with the boys."
Z. L. L. iv. 3. 167-9.
This quotation shows that, after "see," the infinitive, whether
wi.h or without "to," is equivalent to the participle. "Whipping,"
" to tune," and " play," are all co-ordinate. The participial form is
the most correct : as in Latin, "Audivi illam canentem;" modern
English, "I heard hex sing-;" Elizabethan English, "I heard her
to sing." The infinitive with to after verbs of perception occurs
raiely, if ever, in Early English (Miitzner quotes Wickliffe. .S7. John
xii. 18, but ?). It seems to have been on the increase towards
VERBS, MOODS AND TENSES. 251
the end of the sixteenth century, for whereas WickHffe {St. Alatt.
XV. 31) has **The puple wondride. seynge dumb men spekynge
and crokid men goynge, biynde men seyinge," Tyndale (1534) has
•'The people wondred to se the domme speak, the maymed
whole, the halt to go, and the biynde to se ;" and the A. V.
(161 1) has to throughout. This idiom is also very common in
North, and P'lorio's " Montaigne." We have recurred to the idiom
of Early English.
Compare William of Palerne, 1. 871: "and w^han he sei^
hat semly sitte him bi-fore," i.e. "and when he saw her in her
beauty sit before him." In this quotation we might render "sitte"
by the participle "sitting," as the girl is regarded as "in the
state of sitting. " This opens the question of the origin of the phrase
"to see great Hercules whipping." Is "whipping," by derivation,
a verbal abbreviated for "a- whipping," as in 93, or a present
participle? The common construction after "see" and "hear" in
Layamon and William of Palerne seems to be neither the participle
nor the verbal, but the infinitive in -e or -en. Probably, when the
infinitive inflection died out, it was felt that the short uninflected
form was not weighty enough to express the emphatic infinitive, and
recourse was had to the present participle, a substitution which
was aided by the similarity of the tenninations -ejt and -ing.
This is one of the many cases in which the terminations of the
infinitive and present participle have been confused together (93),
and the -ing in this construction represents the old infinitive in-
flection -en. This may explain :
" I my brother know
Yet living (to live) in my glass." — T. N. iii. 4. 415.
i.e. " that my brother lives."
Hence, perhaps, also -ing was added as a reminiscence of the old
gerundive termination -ene, in such expressions as
" Put the liveries to making.''^ — M. of V. ii. 2. 124.
Similarly we find, side by side, in Selden's " Table Talk," " He
fell to eating" and he " fell to eat."
350. "To" omitted and inserted in the same sentence.
The to is often omitted in the former of two clauses and inserted in
the latter, particularly when the finite principal verb is an auxiliary,
or like an auxiliary.
$52 SHAKESPEARIAN GRAMMAR.
' ' Whether Aadsf thou rather be a Faulconbridge
And, like thy brother, io enjoy thy land." — K. j^.i. i. 134,
" I would no more
Endure this wooden slavery than to suffer
The flesh-fly blow my mouth." — Tempest^ iii. i. 62.
" Who ivouM be so mock'd with glory, or to live
But in a dream of friendship?" — T. of A. iv. 2. 33.
So K. J. v. 2. 138-9 ; J. C. iv. 3. 73 ; T. N. v. i. 346.
** Sir, I desire you [to) do me right and justice,
And to bestow your pity on me." — Hen. VIII. ii. 4. 14.
' ' Bids you
Deliver up the crown and to take pity." — Hen. V. ii. 4. 104.
*' Makes both my body pine and soul to languish."
P. of T. i. I. 31.
** Make thy two eyes like stars start from their spheres,
Thy knotted and combined locks to part." — Hamlet, i. 4. 18.
** Brutus //a^ rather be a villager
Than to repute himself a son of Rome." — J. C. i. 2. 173.
'* She tells me she'// wed the stranger knight.
Or never more to view nor day nor night." — P. ofT. ii. 5. 17.
" Some pagan shore,
Where these two Christian armies might combine
The blood of malice in a vein of league,
And not to spend it so unneighbourly." — K. J. v. 2. 39.
Tlius probably we must explain :
** And let them all encircle him about.
And fairy-like to pinch the unclean knight. "
M. W. of W. iv. 4. 57.
The common explanation **to-pinch," attributes to Shakespeare
an archaism which is probably nowhere found in his works (not
even in P. of T. iii. 2. 17). See All tO, 28.
It is a question how to explain
** She is abus'd, stol'n from me and corrupted
By spells and medicines bought of mountebanks :
For nature so preposterously to err.
Being not deficient, blind or lame of sense.
Sans witchcraft ^<7w/«^ not. " — Othello, i. 3. 62.
Here, either as above, (i) ^Uo err" depends on "could," i.e.
"Nature was not able to err;" or (2) "could not" might perhaps
stand for "could not be," "was impossible," having for its subject
*' Nature to err." (See 354.) In (2) " for" may be either {a) a cou-
VERBS, MOODS AND TENSES. 253
junction, or [b) a preposition : "It was not possible for Nature
thus to err." I prefer (i).
In "For little office
The hateful commons will perform for us
Except, like curs, to tear us all to pieces," Rich. IT. ii. 2. 139.
" to tear " may be considered as a noun, the object of "except."
351. It were best (to). To is often omitted after "best" in
such phrases as "it were best," "thou wert best," &c. Perhaps
there is in some of these cases an unconscious blending of two con-
structions, the infinitive and imperative, exactly corresponding to
the Greek o\a&' oZv t Spdaov.
" 'Tis best put finger in the eye." — 71 oj Sh. i. i. 78.
" I were best not call." — Cymb. iii. 6. 19.
" 'Twere best not know myself." — Macbeth, i. 2. 73.
" Best draw my sword." — Cymb. iii. 6. 25.
In most of these cases the speaker is speaking of himself : but
often it is impossible, without the context, to tell whether the verb is
in the infinitive or imperative. Thus in
" Better be with the dead,"— J/^^^//^, iii. 2. 20.
it is only the following line,
" Whom we, to gain our peace, have sent to peace,"
that shows that be is infinitive. When we now use this idiom, we
generally intend the verb to be used imperatively.
352. I were best (to). The construction
" Thou wert better gall the devil."— A: J. iv. 3. 95.
" I were best \edi\t him." — i Hen. VI. v. 3. 82.
" Madam, ^^t'MVi? <5^j/ consider. " — Cymb. iii. 2. 79.
llKe the modern construction "if you please," (in which we should
now say, and be correct in saying, that "you" is the subject, though
it was originally the object, of "please,") represents an old imper-
sonal idiom : "Me were liefer," i.e. "it would be more pleasant to
me ;" " Me were loth ;" " Him were better." Very early, however,
the personal construction is found side by side with the impersonal.
The change seems to have arisen from an erroneous feeling that " Me
were better" was ungrammatical. Sometimes the to is inserted :
" You were best to go to bed." — 2 Hen. VI. v. i. 196.
" You were best to tell Antonio what he said." — M. 0/ V ii. 8. 3,i
254 SHAKESPEARIAN GRAMMAR,
353. "To" omitted after CoDJunctions.
Where two infinitives are coupled together by a conjunction, tue
to is still omitted in the former, where the tatter happens to be nearer
to the principal verb, e.g. after "rather than." "Rather than see
himself disgraced, he preferred to die." But we could not say
*' Will you be so good, scauld knave, as eat it ?" — Hen. V.v.i. 31.
This is probably to be explained, like the above, as a blending
of two constructions — the infinitive, '* Will you be so good as to
eat it ?" and the imperative, ** Eat it, will you be so good ?"
In " Under the which he shall not choose but fall."
Hamlet, *v. 7. 66.
** Nay then, indeed she cannot choose but hate thee."
Rich. III. iv. 4. 289.
" Thou shalt not choose but go."— T. N. iv. i. 61.
the obvious and grammatical construction is "he shall not choose
anything except (to) fall ;" "she cannot choose anything except (to)
hate thee;" but probably (contrary to Matzner's view, iii. 18) the
explanation of the omission is, that Shakespeare mentally supplies
"shall," "can," &c. "He shall not choose anything else, but
(shall) fall." This is supported by
" Who . . . cannot choose but they must blab." — Othello, iv. i. 28.
354. Noun and infinitive used as subject or object.
It might be thought that this was a Latinism. But a somewhat
similar use of the infinitive with a noun in impersonal sentences is
often found in E. E, and, though rarely, in A.-S.
" No wondur is a lewid man /^ rwj-/.?. " — Chaucer, C. T. 504.
"It is ful fair a man to bear him even." — lb. 1525.
**It spedith one mzxifor to die for be puple." — Wickliffe, St
John xviiii. 14.
(So Matzner, but Bagster has " that o man,") i.e. "that one man
should die."
" It is the lesser fault, modesty finds,
Women to change their shapes than men their minds."
T. G. o/F. y. 4. 109.
"As in an early spring
We see the appearing buds which to prove fruit
Hope gives not so much warrant as despair
That frosts will bite them."— 2 Hen. IV. i. 3. 39.
" This to be true
1 do engage my life." — A. V. L. v. 4. 171.
VERBS, MOODS AND TENSES, 255
•* Be then desir'd
A little to disquantity your train.
And the remainder that shall still depend
To be such men that shall besort your age." — Lear, i. 4, 272.
In the following mstance " brags of" is used like " boasts :"
** Verona brags of him
To be a virtuous and well-govem'd youth." — R. and y. i. 5. 70.
" I have deserv'd
All tongues to talk their bitterest."—/^ T. iii. 2. 217.
** (This) is all as monstrous to our human reason
As my Antigonus to break his grave." — lb. v. i. 12.
** O that self-chain about his neck
Which he foreswore most monstrously to have."
C. 0/ £. y. I. U ; Rich. III. iv. 4. 337.
Add perhaps "The duke
Will never grant this forfeiture to hold,'* — M. ofV. iii. 3. 25.
though "forfeiture" may be personified, and "grant" used like
" allow." We retain this use, but transpose " for" in ^^ for to'' (see
the example from WicklifTe above) and place it before the noun or
pronoun :
** For me to putMvcci to his purgation would perhaps plunge him
into far more choler." — Hamlet, iii. 2. 317.
355. The Infinitive used as a Noun. This use is still re-
tained when the Infinitive is the subject of a verb, as "To walk is
pleasant ; " but we should not now say —
" What's sweet to do to do will aptly find." — Z. C. 13.
"My operant powers their functions leave to do."
Hamlet, iii. 2. 184 ; ib. iii. 4. G6.
" Have not to do with \i\m."—Rich. III. i. 3. 292.
So 3 Hen. VI. iv. 5. 2.
" Metaphors far-fet hinder to be understood." — B. J. Disc. 757.
Apparently to is omitted in the following curious passage : —
" For to {to") have this absolute power of Dictator they added
never to be afraid to be deposed." — N. P. 611.
It is doubtful whether the infinitive is a noun in the objective in
" Nor has he with him to supply his life." — T. of A. iv. I. 4fj.
i.e. "the power of supplying;" or whether "anything" is under-
stood : " He has not anything to supply his livelihood."
256 SHAKESPEARIAN GRAMMAR
We can say " I was denied my rights, " but not
" I am denied to sue my livery here." — Rich. III. ii. 3. 129.
356. Infinitive, indefinitely used. To was originally used not
with the infinitive but with the gerund in -e, and, like the Latin " ad^^
with the gerund, denoted a purpose. Thus "/f love" was originally
**' to lovene," i.e. ^^ to (or toward) loving" (ad amandum). Gradually,
as to superseded the proper infinitival inflection, to was used in
other and more indefinite senses, "for," "about," "in," "as
regards," and, in a word, for any form of the gerund as well as for
the infinitive.
" To fright you thus methinks I am too savage. " — Macb. iv. 2. 70.
Not " too savage to fright you," but " in ox for frighting you."
" I was too strict to make mine own away." — Rich. II. i. 3. 243.
/. e, "I was too severe to myself in sacrificing my son. "
" Too proud to be (of being) so valiant." — Coriol. i. i. 263.
"I will not shame myself /'c? give you (by giving you) this."
M. of V. iv. I. 431.
" Make moan to be abridged." — lb. i. i. 126.
Not, " in order to (5<?," but, ^^ about being abridged."
" Who then shall blame
His pester'd senses to recoil and start." — Macb. v. 2. 22.
i.e. "for recoiling." Comp. T. of Sh. iii. 2. 27 ; A. V. L. v. 2. 110.
" O, who shall hinder me to wail and weep ?"
Rich. in. ii. 2. 27.
i.e. "as regards, or from, wailing."
" But I shall grieve you to report (by reporting) the rest."
Rich. 21 ii. 2. 95.
" You might have saved me my pains to have taken away the ring. "
T. N. ii. 2. 6.
i.e. "by having taken away."
" I the truer, so to be (for being) false with you."
Cymb. i. 5. 44.
"Lest the State shut itself out to take any penalty for the
same."— B. E. 158.
r.& "as regards taking any penalty." We still say, "I fear to do it^**
where "to" has no meaning of purpose ; but Bacon wrote —
"Young men care not to innovate." — B. E. 161.
'•are not cautious about innovating.''^ So TV. and Cr. v. i. 71.
VERBS, MOODS AND TENSES. 257
This genindive use of the infinitive is common after the veib "to
mean :'*
** Whet mean these masterless and gory swords
To lie discolour'd by this place of peace ?" — R. and J. v. 3. 143.
*' What mean you, sir,
To give \htm. this discomfort?" — A. and C. iv. i. 34.
So 7>. and Cr. v. I. 30.
** To weep to have that which it fears to lose." — Sojui. 64.
i.e. " to weep because of having, hecauseit has. "
We say, " I took eleven hours to write it," or " I spent eleven
hours iji writing,^'' not
" Eleven hours I spent to write it over."
Rich. III. iii. 6. 5 ; M. of V. i. i. 154.
" But thou strik'st me
Sorely, to say (in saying) I did." — W. T. v. I. 18.
"You scarce can right me throughly then to say
You did mistake."—/^, ii. i. 99.
i.e. "by saying."
" I know not what I shall incur to pass it." — lb. ii. 2. 57.
ie. "I know not what penalty I shall incur as the consequence of,
orj^r, letting it pass."
"You're welW^/zV*."—^. T. iii. 3. 121.
i.e. "You are well off as regards living" resembles our modern,
"You are well to do." The infinitive thus used is seldom preceded
by an object :
" So that, conclusions to be as kisses, if your (221) four negatives
Make your two affirmatives, why then," &c. — 7! A^. v. i. 22.
" What ! /, that kill'd her husband and his father,
To take her in her heart's extremest hate !"
Rich. III. i. 2. 231-2.
From 216 it will be seen that the English pronoun, when it repre-
sents the Latin accusative before the infinitive, is often found in the
nominative. The following is a curious instance of the ambiguity
attending this idiom : —
" I do beseech your grace
To have some conference with your grace alone. ''
Rich. II. v. 3, 27,
I.e. "about having some conference," and here, as the context
shows, "that I may have some conference."
2
258 SHAKESPEARIAN GRAMMAR.
Equally ambiguous, with a precisely opposite interpretation^ \%
"Sir, the queen
Desires your visitation, and to he
Acquainted with this stranger." — Hen. VIII. v. I. 169.
t.e. **and that you will become acquainted."
' ' Of him I gather'd honour
Which he to seek (seeking) of me again perforce
Behoves me keep at utterance." — Cymb. iii. i. 7?
Probably we must thus explain :
" Thou'lt torture me to leave unspoken that
Which, to he spoke, would torture thee." — lb. v, 5. 139.
t.t. **You wish to torture raQ for leaving unspoken that which, by
being spoken, would torture you. "
** Foul is most foul being foul to be a scoffer,"
A. Y. L. iii. 5. 62.
seems to mean " foulness is most foul when its foulness consists in
being scornivl."
357. "To" frequently stands at the beginning of a
sentence in the above indefinite signification. Thus Macb. iv. 2.
70, quoted above, and —
*' 7^7 do this deed,
Promotion follows."— f^. T. i. 2. 356.
" To know my deed, 'twere best not know myself."
Macbeth, ii. 2. 73.
" To say to go with you, I cannot." — B. J. E. out ^'c. iv. 6.
" To belie him I will not."— ^4. W. iv. 3. 299.
" Other of them may have crooked noses, but to owe (as regards
owning) such straight arms, none." — Cynib. iii. i. 38.
"For of one grief grafted alone,
To graft another thereupon,
A surer crab we can have none." — Hey WOOD.
" To lack or lose that we would win
So that our fault is not therein,
What woe or want end or begin ? " — lb.
'' To site to live, I find I seek to die.
And seeking death find life," — M. for M. iii. I. 43.
where "/^ sue to live" means ^^ as regards suing to live," and
corresponds to "i-^<?>^/;/^ death."
VERBS, MOODS AND TENSES. 259
This indefinite use of the infinitive in a gerundive sense seems to
be a continuation of the old idiom which combined to with the
gerund.
Less frequently the clause depends on " that : "
" But that I'll give my voice on Richard's side,
God knows I will not do iC—Rich. III. iii. i. 53.
358. For to. When the notion of purpose is to be brought out,
for to is often used instead of to, and in other cases also. Similarly
the Danish and Swedish languages (Matzner) have "for at," and
the old Fx-ench has "por (pour) a," with the infinitive. For to is
still more common in Early English than in Elizabethan.
359. Infinitive active is often found where we use tht passive,
as in
" Yet, if men moved him, was he such a storm
As oft 'twixt May and April is to see." — L. C. 102.
This is especially common in ** what's /(? ^(?" {T. N. iii. 3. 18;
&c.) for " what's to be done." See Ellipses, 405, and compare
"Savage, extreme, rude, ciiiel, not to trust." — Sonn. 129.
i.e. "not to be trusted."
360. Infinitive, complete Present. It is now commonly
asserted that such expressions as "I hoped to have seen him yester-
day" are ungrammatical. But in the Elizabethan as in Early
English authors, after verbs of hoping, intetiding, or verbs signifying
tliat something ought to have been done but was not, the Complete
Present Infinitive is used. We still retain this idiom in the expression,
" I -would (i.e. wished to) have done it." *' I ought {j..e. was bound)
io have done it. " But we find in Shakespeare —
" I hoped thou shouldst have been my Hamlet's wife;
I thought thy bride-bed to have decked, sweet maid. "
Hamlet, v. I. 268.
"Thought to have begg'd." — Cymb. iii. 6. 48.
In "Levied an army weening to redeem.
And have install' d me in the diadem," — I Hen. VI. ii. 5. 89,
it is difficult to explain the juxtaposition of the simple present mth
an apparently complete present infinitive. Probably have is here
used in the sense of "cause," i.e. "thinking to redeem me and
to have me install' d," "to cause me to be install'd." So in
s 2
n6o SHAKESPEARIAN GRAMMAR.
** Ambitious love hath so in me offended
That barefoot plod I the cold ground upon
With sainted vow my faults to have amended,''
A. IK iii. 4. 7.
"to have amended" seems to mean "to cause to be amended."
But possibly there is no need for this supposition of transposition.
The thought of tmftdfilment and disappointment growing on the
speaker might induce her to put the latter verb in the complete
present infinitive.
"Pharnabazus came thither thinking to /^^z/^ raised the siege." —
N. P. 179,
Sometimes the infinitive is used without a verb of "thinking," to
imply an unfulfilled action.
" I told him of myself, which \vas as much
As to have ask'd him pardon." — A. and C. ii. 2. 79.
But often it seems used by attraction to "have," expressed or
implied in a previous verb.
" She would have made Hercules to have turned spit."
M. Ado, ii. I. 261.
"I had not (i.e. should not have) been persuaded to have hurled
These few ill-spoken lines into the world."
Beaumont on Faithful Shepherdess.
So Milton : " He trusted to haveequalVd the Most High."
The same idiom is found in Latin poetry (Madvig, 407. Obs. 2)
after verbs of tvishing and intending. The reason of the idiom
seems to be a desire to express that the object wished or intended is
a completed fact, that has happened contrary to the wish and cannot
now be altered.
361. Subjunctive, simple form. See also Be, Were, An,
But, If, &c- The subjunctive (a consequence of the old inflectional
form) was frequently used, not as now with would, should, &c., but
in a form identical with the indicative, where nothing but the
context (in the case of past tenses) shows that it is the subjunctive,
as :
" But, if my father had not scanted me,
Yourself, renowned prince, then stood as fair."
M.ofV.n. I 17.
" Preferment goes by letter and affection,
And not by old gradation where each second
Stood heir to the ^\'%\..'"— Othello, i. i. 38.
VERBS, MOODS AND TENSES. 261
If it be asked what is the difference between "stood " here and
"would have stood," I should say that the simple form of the
subjunctive, coinciding in sound with the indicative, implied to an
Elizabethan more of inevitability (suljject, of course, to a condition
which is not fulfilled). "Stood" means "would certainly have
stood." The possibility is regarded as an unfulfilled fact, to speak
paradoxically. Compare the Greek idiom of iVa with the indicative.
"If he did not care whether he had their love or no, he waived
indifferently 'twixt doing them neither good nor harm ; but he seeks
itheir hate with greater devotion than they can render it him." —
Coriol. ii. 2. 17.
"If they
Should say, ' Be good to Rome,' they charged him even
As those should do," &c. — Coi'iol. iv. 6. 112.
" (If I rebuked you) then I checked my friends."
Rich. in. iii. 7. 150.
"Till" is used varyingly with the indicative present, future, and
the subjunctive.
The subjunctive is found after "so" in the sense of "so (that),"
i.e. "(if it be) so (that)."
"I will . . . endow a child of thine,
So in the Lethe of thy angry soul
Thou drow7i the sad remembrance of these wrongs."
Rich. III. iv. 4. 251.
Sometimes the presence of the subjunctive, used conditionally
(where, as in the case of did, the subjunctive and indicative are
identical in inflections), is indicated by placing the verb before the
subject :
" Z?/<2f / tell this . . . who would believe me ? "
M.for M. ii. 4. 171.
^^ Live Roderigo,
He calls me to a restitution." — Othello, v. i. 14.
" Live a thousand years,
I shall not find myself so fit to die." — J. C. iii. I. 159.
^^ Live thou, I live."— J/, of V. iii, 2. 61.
Where we sliould say, '' Should I tell, live," &c.
The indicative is sometimes found where the subjunctive might
be expected:
^' Fleaseth you walk with me down to his house,
I will discharge my bond," — C. of E. iv. i. 12.
^•here the first clause might be ta!ken interrogatively, "Is it your
262 SHAKESPEARIAN- GRAMMAR.
pleasure to walk with me? In that case I will," &c. So 2. Hen. IV.
iv. I, 22o. Perhaps we may thus explain the so-called imperative
in the first person plural :
" Well, sit we down,
And let us hear Bernardo speak of this." — Hamlet, i. i. 23.
i.e. "suppose we sit down?" "what if we sit down?" Compare
lb. 168.
So *' Alcib. I'll take the gold thou giv'st me, not all thy counsel,
Thnon. Dost thou, or dost tJiou not, Heaven's curse upon
thee!"— T: of A. iv. 3. 131.
So "willy-nilly" and
"He left this ring behind him, would I or not.^^ — T. N. i, 5. 321.
"Please" is, however, often found in the subjunctive, even
interrogatively.
'' Please \\. you that I call?"—?", of Sh. iv. 4. 1.
It then represents our modern "may it please?" and expresses
a modest doubt.
The subjunctive is also found, more frequently than now, with if
though, &c. The subjunctive "he dare" is more common than
"he dares" in the historical plays, but far less common in the
others. The only difference between the two is a difference ot
thought, the same as between "he can jump six feet" and "he
could jump six feet," i.e. if he liked.
Compare " For I know thou darest.
But this thing dare not." * — Tetnpest, iii. 2. 62-3.
i.e. "would not dare on any consideration :" stronger than "dares."
The indiscriminate use of "dare" and "dares" (regulated,
perhaps, by some regard to euphony) is illustrated by
" Here boldly spread thy hands, no venom'd weed
Dares blister them, no slimy snail dare creep. "
B. and F. F. Sh. iii. i.
362. Subjunctive auxiliary forms. The simple form of the
subjunctive is sometunes interchanged and co-ordinate with the
auxiliary form. ,
"If thou wert the ass, thy dulness wotdd torment thee, and
still thou livedst but as a breakfast to the wolf; if thou wert the
wolf, thy greediness ivoidd afflict thee, and oft thou shouldst hazard
thy life for a dinner ; wert thou a horse, thou wouldest be seized by
• " This tiling " means " this creature Trinculo," and is antithetical to " thou.*"
VERBS, MOODS AND 7'ENSES. 263
the leopard ; wert thou a leopard, thou wert german to the lion." —
T. of A. iv. 3. 385-94.
Note here that "livedst " and "shouldst" imply inevitability and
compulsion. " Wouldest" is used in the passive because the passive
in itself implies compulsion. " Would " is used after " dulness "
and "greediness" because they are quasi-personified as voluntary
persecutors. Why not "hazardcdst"a3well as "livedst?" Perhaps
to avoid the double d.
"Do," "did," are often used with verbs in the subjunctive :
" Better far, I guess,
That we ^<3 make our entrance several ways. " — I IIc7t. VI. ii. I, 30.
" Lest your retirement do amaze your friends." — I lien. IV. v. 4. 5.
363. The Subjunctive is replaced by the Indicative after
"if," where there is no reference to futurity, and no doubt is
expressed, as in "if thou lovest me."
"O Nell, sweet Nell, if thou dost love thy lord,
Banish the cankers of ambitious thoughts."
2 Hen. VI i. 2. 17.
*' An thou canst not smile as the wind sits, thou'lt catch cold
shortly."— Zi-^r, i. 4. 112.
"Ah, no more of that, Hal, an thou lovest me." — i Hen. IV.
11. 4. 312.
In the last example Falstaff is assuming the Prince's love as a
present fact in order to procure the immediate cessation of ridicule.
But in the following he asks the Prince to do him a favour regarded
9& future, and as somewhat moi^e doubtftd: —
"^ thou love me, practise an answer." — i Hen. IV. ii. 4. 411.
Incredulity is expressed iu
^^ If thou have power to raise him, bring him hither."
lb. iii. I. 60.
In " ^ thou dost nod thou break" st thy instrument,"
y. C. iv. 3. 271.
the meaning is "you are sure to break," and the present indicative
being used in the consequent, is also used in the antecedent. So in
" I am quickly ill and well
So (almost * since') Antony loves.'' — A. and C. i. 3. 73.
In " It (my purpose) is no more
But that your daughter, ere she seems as woo.
Desires this ring," — A. W. iil 7. 32.
264 SHAKESPEARIAN' GRAMMAR.
the purpose is regarded graphically as a fact in the act of being
completed. However, the indiscriminate \ise of the indicative and
subjunctive at the beginning of the seventeenth century is illustrated
by the A. V. St. Matt. v. 23 :
" Therefore, if thou bring thy gift to the altar, and there
rememberesi. "
364. Subjunctive used optatively or imperatively. Tins
was more common then than in modem poetry.
" Who's first in worth, the same be first in place."
B. J. Cj/.'j- Rev. V. T.
(May) "Your own good thoughts exaisex^^, and farewell."
L. L. L. ii. I. 177
*' O heavens, that they %uere living both in Naples,
The king and queen there! (provided) that they tcwr, I wish
Myself were mudded in the oozy bed." — Tempest, v, I. 150.
**No man inveigh against the wither'd flower,
But chide rough winter that the flower hath kill'd."
R. of L.
** In thy fats our cares be drowned,
With thy grapes our hairs be crowned. " — A. and C. ii. 7. 122c
The juxtaposition of an imperative sometimes indicates the im-
perative use.
"Touch you the sourest points with sweetest terms,
Nor (let) curstness groiv to the matter." — A. a?id C. ii. 2. 25,
" Good now, sit down, and tell me he that knows," &c.
Hamlet, i. I. 70.
" Take Antony Octavia to his wife." — A. and C. ii. 2. 129,
** Run one before, and let the queen know." — Jb. iv. 8.. 1.
"Thus time we waste, and longest leagues make short ;
Sail seas in cockles, have an wish but for 't. "
F. of T. iv. 4. Gower, %
Le. ' ' Let any one but wish it, and we will sail seas in cockles. "
bometimes only the context shows the imperative use :
" For his passage,
(See that) The soldiers' music and the rites ot war
Speak loudly for him." — Hamlet, v. 2. 411.
'i'he "and" is superfluous, or else "question" is imperative, in
" Question, your grace, the late ambassadors.
And you shall find." — Hen. V. ii. 4. 31.
VERBS, MOODS AND TENSES. 265
So in " Hold out my horse and I will first be there."
Rich. II. ii. I. 300.
"Then (see that) every soldier kill\i\% prisoners."
Hen. V. iv. 6, 37.
On the other hand, "prove" is conditional (or "and" is omitted)
in
"O my father!
Prove you that any man with me conversed,
Refuse me, hate me, torture me to death."
M. Ado, iv. I. 182-6.
Often it is impossible to tell whether we have an imperative with
a vocative, or a subjunctive used optatively or conditionally.
'■'Melt Egypt into Nile, and kindly creatures
Turn all to serpents." — A. and C. ii. 5. 78.
"That I shall clear myself.
Lay all the weight yc can upon my patience,
I make as little doubt as," &c. — Hen. VIII. v. i. 66.
"Now to that name my courage /r^^^? my title."
A. and C. v. 2. 291.
" Sport and repose turn from me day and night."
Ilavdet, iii. 2. 218.
365. This optative use of the subjunctive dispensing with
** let," "may," &c. gives great vigour to the Shakespearian line :
" Judge me the world."— 6>///^/^, i. 2. 72.
i.e. " let the world judge for me."
" Disorder, that hath spoil'd us,, friend us now."
IIe7i. V. iv. 5. 17.
' ' Long die thy happy days before thy death. "
Rich. IIL i. 3. 207.
"The worm of conscience still begnaw thy soul." — lb. 222.
The reader of Shakespeare should always be ready to recognize
the subjunctive, even v.-here the identity of the subjunctive with the
indicative inflection renders distinction between two moods impos-
sible, except from the context. Thus :
" Therefore take with thee my most heavy curse,
Which in the day of battle tire thee more
Than all the complete armour that thou wear'st i
My prayers on the adverse party y?^-/^/.
And there tlie little souls* ot Edward's children
Whisper the spirits of thine enemies,
And promise them success and victory. " — Rich. III. iv. 4. 1 90,
266 SHAKESPEARIAN GRAMMAR.
Here, in the second line, "tire," necessarily subjunctive, im-
presses upon the reader that the co-ordinate verbs, "fight," &c., are
also subjunctive. But else, it would be possible for a careless
reader to take " fight," &c. as indicative, and ruin the passage.
Tliis optative or imperative use of the subjunctive, though
common in Elizabethan writers, had already begun to be supplanted
by auxiliaries. Thus Wickliffe has [Coloss. ii. i6) "No man j'tige
you," while all the other versions have " Zei no man judge you."
366. Subjunctive, complete present. (See Should for "if
he should have.") The subjunctive with "have" is not very
frequent. It is used where a past event is not indeed denied, but
qualified conditionally, in an argumentative manner :
"If, sir, perchance
She /laz^e restrain'd the riots of your followers,
'Tis on such ground ... as clears her from all blame."
Lear, ii. 4. 145.
I.e. "If it should hereafter be proved that she /lave,'" "if so be that
she /lave."
So "If this young gentleman /lavg done offence."
T. N. iii. 4. 344.
"Though it have^'' is somewhat similarly used to express a conces-
sion for the sake of argument, not a fact.
" For though it have holp madmen to their wits."
Rich. II. V. 5. 62.
367. Subjunctive used indefinitely after the Relative.
"In her youth
There is a prone and speechless dialect
Such as iiKTJe men."— yJ/. for AI. i. 2. 189
" And the stars vy/wj-^ feeble light
Give a pale shadow." — B. and F.
" But they rvhose guilt within their bosom lie
Imagine every eye beholds their blame." — R. of L. ii. 1344.
" Thou canst not die, whilst any zeal aboiind."
Daniel (quoted by Walker).
" I charge you to like as much of this play as please you."
A. Y. L. Epilogue.
" And may direct his course as please himself."
Rich. in. ii 2. 12S>.
VERBS, MOODS AND TENSES. 267
Perhaps (but see 218)
* • Alas, their love may be called appetite,
No motion of the liver, but the palate
Thai jz^#r surfeit. "—T: N. ii. 4. 102.
In the subordinate clauses of a conditional sentence, the relativis
is often followed by the subjunctive :
*' A man that tvere to sleep your sleep." — Cymb. v. 4. 179.
i.e. " If there were a man who was destined to sleep your sleep."
** If they would yield us but the superfluity while it -ujere whole-
some." — Coriol. i. I. 18.
368. Subjunctive in a subordinate sentence. The sub-
junctive is often used with or without "that," to denote a purpose
(see above. That). But it is also used after " that," "who," &c. in
dependent sentences where no purpose is implied, but only futurity.*
" Be it of less expect
That matter needless of importless burden
Divide thy lips." — Tr. and Cr. i. 3. 71.
No "purpose" can be said to be implied in "please," in the fol-
lowing : —
" May it please you, madam,
That he bid Helen come to you." — A. VV. i. 3. 71.
"Yet were it true
To say this boy wei-e like me." — W. T. i. 2. 135.
" Thou for whom Jove would swear
Juno but an yEthiop were.'" — L. L. {.. iv. 3. 118.
" Would you not swear that she wei'e a maid ?"
M. Ado, iv. I. 40.
" One would think his mother's milk were sczxco. out of him."
T. N. i. 5. 171.
Ill the last four passages the second verb is perhaps attracted to
the mood of the first.
^'■Proteits. But she is dead.
Silv. Say that she be: yet," <Sc.
T. G. of V. iv. 2. 109.
" With no show of fear,
No, with no more than if we heard that England
Were busied with a Whitsun Morris-dance. "
Hen. V. ii. 4. 25.
* I have found no instance in Shakespeare like the following, quoted by
Walker from Sidney's Arcadia :
"And I think there she do dwell."
26g SHAKESPEARIAN GRAMMAR,
"I pray (hope) his absence /r^f^<?^ by swallowing that."
Cy7)ib. iii. 5. 58
"If it be proved against an alien
That by direct or indirect attempt *
He seek the life of any citizen." — M. of V. iv. I. 351.
" One thing more rests that Mvj^^M execute " — T. ofSh. i. I. 251.
where, however, "that" may be the relative, and "execute" an
imperative.
I know of no other instance in Shakespeare but the following,
where the subjimctive is used after "that" used for "so that,"
of a fact :
"Through the velvet leaves the wind
All unseen can passage find,
That the lover sick to death
Wish himself the heaven's breath."— Z. L. L. iv. 3. 108.
The metre evidently may have suggested this licence : or -es or -d
may have easily dropped out of " wislvj-" or " wishV."
The subjunctive is used where we should use the future in
"I doubt not you (will) sustain what you're worthy of by your
attempt."— C>w(^. i. 4. 125.
" Thhik" seems used subjunctively, and "that" as a conjunction in
"And heaven defend (prevent) your good souls that you
(should) think
I will your serious and great business scant
For (because) she is with me." — Othello, i. 3. 267.
The "that" is sometimes omitted :
"It is impossible they bear it out." — lb. ii. i. 19.
ftere "bear" is probably the subjunctive. The subjunctive is by
no means always used in such sentences. We may contrast
" No matter then who see it." — Rich. II. v. 2. 59.
"I care not who kjiow it." — Hen. V. iv. 7. US.
with
" 1 care not xvho knaivs so much." — T. N. iii. 4. 300.
369. The Subjunctive afcer verbs of command and
entreaty is especially common ; naturally, since command implic.3
a. purpose.
"We enjoin thee that thou carry. '^ — W. T. ii. 3. 174.
"I conjure thee that thou declare.''^ — lb. i. 2. 402.
So M. for M. V. I. 50.
VERBS, MOODS AND TENSES. 269
"Tell him from me
He bear himself with honourable action."
T. ofS/i. Ind. i. I. 110.
"Thy dukedom I resign, and do entreat
T]\o\x pardo7t me my wrongs." — Te/np. v. i. 119.
So after "forbid."
"Fortune forbid my outside have not charmed her."
T. N. ii. 2. 19.
Sometimes an auxiliaiy is used :
"I do beseech your ma]esty may salve.'' — i //en. /V. iii. 2. 155.
Hence in such passages as
" Go charge my goblins that ihcy grmd their joints,"
Tc?np. iv. I. 259.
the verb is to be considered as in the subjunctive.
After a past tense " should" is used :
370. Irregular sequence of tenses. Sometimes the sequence
of tenses is not observed in these dependent sentences :
"Therefore they thought it good you hear a play."
T. of Sh. Ind. 2. 136.
" ' Twere good you do so much for charity. " — M. of V. iv. i. 261.
In both cases a present is implied in the preceding verb : "They
tliought and think," " It were and is good."
Reversely in
* * But do not stain
The even virtue of our enterprise
To think that or our cause or our performance
Z>/^ «^^^/ an oath. " — J. C. ii. I. 136.
"Did need" means "ever could need," and is stronger than
"need" or "can need." In
" Is it not meet that I did amplify my judgment ?'' — Cymb. i. 5. 17.
as in " It is time he came'' the action is regarded as one "meet" in
time past, as well as in the future.
* ' It hath been taught us from the primal state
That he which is is wished xxntil he were." — A. and C. i. 3. 42.
Here "were" is used partly for euphony and alliteration, partly
because the speaker is speaking of the past, "is and was always
wished until he were."
270 SHAKESPEARIAN GRAMMAR.
371. Conditional Bentences, The consequent does not always
answer to the antecedent in mood or tense. Frequently the irregu*
larity can be readily exiDlained by a change of thought.
"And that 17/ prove on better men than Somerset,
(Or rather, I would) Were growing time once ripen'd to
my will."— I Hen. VI. ii. 4. 98.
So 3 Hen. VI. v. 7. 21.
" If we shall stand still
(Or rather, if we should, for we shall not) We should take root."
Hen. VIII i. 2. 86.
"I will find
Where truth is hid, (and I would find it) though it were hid
indeed
Within the centre." — Hamlet^ ii. 2. 157-8.
Compare Ezek. xiv. 14, A. V. :
" Though these three men, Noah, Daniel, and Job, were in it. they
should deliver but their own souls. "
with //^. 20, " they jy^a// deliver."
" But if the gods themselves did see her then
*******
(If they had seen her) The instant burst of clamour that she
made
Would have made milch the burning eyes of heaven."
Hamlet, ii. 2, 535-40.
"Till I know 'tis done,
Howe'er my hopes (might be), my joys were ne'er begun."
lb. iv. 3. 70.
Sometimes the consequent is put graphically in the present merely
for vividness :
" If he should do so.
He leaves his back unarm'd ; . . . never fear that."
2 Hen. IV. i. 3, 80.
Or else the speaker rises in the tone of confidence :
" I am assured, if I be measured rightly.
Your majesty hath no just cause to hate me." — lb. v. 2. 66.
PARTICIPLES.
372. Participles, Active. Our termination -ing does duty for
( I ) the old infinitive in -an ; (2) the old imperfect participle in end,
ciidey ande ; and (3) a verbal noun in -2^;/^, Hence arises great con
PARTICIPLES, 27 f
fusion. It would sometimes appear that Shakespeare fancied that
'ing was equivalent to -en, the old affix of the Passive Parcicipit.
Thus—
" From his all- obeying breath
I hear the doom of Egypt." — A. and C. iii. 13. 77.
ue. " obeyed by all."
" Many a dry drop seemed a weeping itzr.^^ — R. of L. i. 1375.
So " His unrecalli?ig crime " {R. of L.) for " unrecallcd."
(In " Many excesses which are owing a, man till his age," — B. E. 122.
i.e. ** own, or, belonging to a man," owing is not a participle at all,
but an adjective, "agen," "awen," "owen," "owenne," "owing;"
which was mistaken for a participle.
"There is wx^oxt. oioing her than is paid." — A. IV. i. 3. 107.
"Wanting, "as in CorioL ii. I. 217, **One thing is wanting,^^ 0.2^x1 be
explained from the use of the verb wanteth in the following passage ;
" There wanteth now our brother Gloucester here
To make the period of this perfect peace." — R. III. ii. i. 43. )
The same explanation may apply to "I am much beholding to
you," which is sometimes found for " beholden, " AV^/^. ///. ii. 1.129,
J. C. iii. 2. 70-3, and even to
" Relish your nimble notes to pleasing ears." — R. of L.
In the following, -ing might be supplanted, without altering the
sense, by the infinitive or the verbal preceded by a- :*
"Women are angels, wooing:
Things won are done." — Tr. and Cr. i. 2. 312.
i.e. "women are considered angels to woo, or a-wooing," where
wooing, if treated as an ordinary present participle, would give the
opposite to the intended meaning. Probably in the above, as in
the following, a- is omitted.
" Be brief, lest that the process of thy kindness
Last longer (a-, or in) telling than thy kindness date."
Rich. Ill iv. 4. 254.
The ** in " is inserted in
" Pause a day or two
Before you hazard ; for in choosing wrong I lose your com-
pany." — Jll. cf V. iii. 2. 2.
* Comp. " Retuni/«^ were as tedious as (to) go o'er," — Macb. iii. 4. 13S.
tu which the r«^ perhaps quali&cs "go" as well as "return," and min;ht be .sup
planted by '' lo."
^^2 SHAKhS^CARIAN GKAMA.'AR.
j.u'. " in the event oi your choosing wrong, / lose" your company."
The two constructions occur together in
** Come, come, in wooing sorrovr let's be brief,
Since, {di-)wedding \t, there is such length in grief."
/■^ic/i. II. V, 3. 72.
Tt is perhaps a result of this confusion between the verlial and the
infinitive that, just as the infinitive with "to" is used independently
at the beginning of a sentence (357) in a gerundive signification, so
is the infinitive represented by -ing :
" Why, were thy education ne'er so mean,
Having thy limbs, a thousand fairer coui^es
Offer themselves to thy election." — B. J. E. in &^c. ii. i.
i.e. "since thou hast thy limbs." This explains the many instances
in which present participles appear to be found agreeing with no
noun or pronoun.
Part of this confusion may arise from the use uf the verbal in -ing
as a noun in compounds. We understand at once that a " knedyng
trowh" (Chaucer, C. T. 3548) means "a trough for kneading;"
but "spending silver" {lb. 12946) is not quite so obviously
" money for spending." Still less could we say
" Sixth part of each ! A /r^-Wi^//;?^ contribution. "
Hen. VIIL i. 2. 95
Somewhat different is
" Known and y^^/zVz^ sorrows," — lea^-, iv. 6. 226.
where "feeling" seems to be used like "known," passively, "knowp
and realized sorrows."
So "loading" is used for "laden," Bacon, Essays, p. 49
(Wright).
*^Yo\xx diseontentingiz.\her,^^ — W. T. iv. 4. 543.
may perhaps be explained by the use of the verb "content you ;"
" I discontent (me) " meaning " 1 am discontented."
373, The Verbal differs in Elizabethan usage from its modem
use. [a) We do not employ the verbal as a noun followed by " of,"
unless the verbal be preceded by "the," or some other defining
adjective. But such phrases as the following are of constant
occurrence in Elizabethan English :
" To disswade the people from making o/\Qn<^e." — N. P. 170.
** He was the onely cause of murdering of the poor Melians."
lb. iTi.
m
PARTICIPLES 273
•' By ivinmngQxAy of Sicilia." — N. P. 171.
*-' Enter Clorin the Shepherdess, sorting oi herbs."
B. and F. F. Sh. U. i.
ic. " a-sorting, or in sorting of herbs."
For instances from Shakespeare, see 1 78 and 93.
{d) On the other hand, when the verbal is constituted a noun by
the dependence of "the," or any other adjective (except a possess/ive
adjective) upon it, we cannot omit the o/. The Elizabethans can.
** To plague thee for \X\y foul misleading me."
3 He7t. VL V. I. 97.
We should prefer now to omit the "thy" as well as "foul,"
though we have not rejected such phrases as
** Upon his leaving our house." — Goldsmith.
For instances of "of" omitted when " the" precedes the verbal,
see Article, 93- in this matter modem usage has recurred to E. E.
374. Participles, Passive, it has been shown (294) that, from
the licence of converting nouns, adjectives, and neuter verbs into
active verbs, there arose an indefinite and apparently not passive
use of Passive Participles. Such instances as
" Of all he ^\^s possess' doi" — M. of V. y. i. 293.
[possess being frequently used as an active verb, ) may thus be ex-
plained.
Perhaps,
" And, gladly quaked (made to quake), hear more,"
Coriol. i. 9. 6.
may be similarly explained. Compare also :
" All the whole army stood agazed on him."
I Hen. VI. i. i. 126.
But, in the following, we can only say that, in the excessive use
of this licence, -ed is loosely employed for /«/, -ing^ or some other
affix expressing connection.
" Revenge the jeering and disdained contempt."
I Hen. IV. i. 3. 183.
" ^r^^a'm'- watchful day."— j^ J. iii. 3. 52.
As wa talk of "watching (during) the night," this may exola,"-!
«* The weary and a)^-watched m^V—Hen. V. iv. Prologue, 88.
T
274 SHAKESPEARIAN- GRAMMAR.
But more probably "all-watclied" (like "o'er- watched, "y. C. ic. 3.
241) resembles "weary," and means "tired with watching.'' For
this use of adjectives see 4,
*' Grim-^^/&V night. "—i1/. JV. D. v. i. 171.
" The dded msin."—A. and C. i. 4. 43.
It is perhaps still not unusual to say "the tide is ebbed."
" A moulten i-aven." — i Hen. IV. iii. i. 152.
" ^\\h sainted \o^.'" —A. W. iii. 4. 7. (= saintly).
" And at our more considered time we'll read." — Hamlet^ ii. 2. 81.
" Unconstrained gywts,." — L. C. 242.
Sometimes passive participles are used as epithets to describe the
state which would be the result of the active verb. Thus :
"Why are you drawn ?"— Temp. ii. i . 308 ; M. N.D. iii. 2. 402.
i.e. " Why do 1 find you with your swords drawn?"
" Under the blow of thralled discontent." — Sonn. 124.
"The valued file" {Macb. iii. I. 95) perhaps means "the file or
catalogue to which values are attached."
375. The Passive Participle is often used to signify, not that
which was and is, but that which was, and therefore can be hereafter.
In other words, -ed is used for -able.
" Inestimable stones, wtvalued ]QVfe\?,." — Rich. III. i. 4. 27.
i.e. "invaluable."
" All unavoidedis the doom of destiny." — lb. iv. 4. 217.
Le. "inevitable." So
" We see the very wreck that we must suffer.
And unavoided is the danger now." — Rich. II. ii. 2. 268.
" With all imagined (imaginable) speed." — M. ofV. iii. 4. 52.
* * The murmuring surge
That on the ujtnumbey' d \A\q pebbles chafes." — Z<rar,iv.6.21.
So, probably, Theobald is right in reading
" The twinn'd stone upon th' unnumbered hesLch,"
Cymb. i. 6. 34
though the Globe retains "number'd."
" Unprized " in
"This unprized precious maid," — Lear, i i. 26^.
may mean " unprized by others, but precious to ma."
PARTICIPLES. 275
. ** There's no hoped fm- mercy with the brothers.'*
3 Hen. Vlt. V. 4. S5,
U€. ** to be hoped for."
It has been conjectured that "delighted" means "capable of
being dehghted " in
** This sensible warm motion to become
A kneaded clod, and the delighted spirit
To bathe in fiery floods."— J^/.yt^r J/, iii. i. 121,
More probably, "delighted" here means the spirit "that once took
i^.s delight in this world ; " but ' ' knead^^/ " seems used for " knead«^/<f. "
376. Participle used with a Nominative Absolute, in
Anglo-Saxon a dative absolute was a common idiom. Hence, even
when inflections were discarded, the idiom was retained; and indeed,
in the case of pronouns, the nominative, as being the normal state ot
the pronoun, was preferred to its other inflections. The nominative
absolute is much less common with us than in Elizabethan authors.
It is often used to call attention to the object which is superfluously
repeated. Thus in
" The master and the boatswain,
Being awake, enforce them to this place," — Temp. v. I. 100.
there is no need of " them." So "he" is superfluous in
" Why should he then protect our sovereign,
.^ being of age to govern of himself?" — 2 Hen. VI. i. i. 166.
It is common with the relative and relative adverbs.
" Then Deputy of Ireland ; who removed.
Earl Surrey was sent thither." — Hen. VIII. ii. I. 42.
" My heart,
WJiere the impression of mine eye infixing,
Contempt his scornful perspective did lend me."
A. W. v. 3. 47.
" Thy currish spirit
Govren'd a wolf, who ha?tg'dfor human slaughter,
Even from the gallows did his fell soul fleet."
M. ofV. iv. I. 134
*' Emblems
Laid noblv on her ; which pei'form'd, the choir
Together sung * Te Deum.'" — Hen. VIII. iv. i. 91.
The participle with a nommative originally intend'td to be
absolute seems diverted into a subject in
T 2 •
276 SHAKESPEARIAISr GRAMMAR.
" The king . . . aiming at your interior hatred
Makes him send." — Rich. III. i. 3. 65-8.
i.e. " the fact that the king guesses at your hatred makes liim scud/'
377. The Participle is often used to express a condition
where, for perspicuity, we should now mostly insert "if"
" Requires to live in Egypt, which not granted.,
He lessens his requests," — A. and C. iii, 12. 12.
** That whoso ask'd her for his wife,
His riddle told not, lost his life."— P. of T. i. Gower, 38.
** For I do know Fluellen valiant,
And, touch'' d with choler, hot as gunpowder. "
Hen. V. iv. 7. 188.
' * Your honour not overthrown by your desires,
I am friend to them and you." — W. T. v. i. 230.
•' Admitted " is probably a participle in
*' This is the brief of money, plate and jewels
I am possess'd of: 'tis exactly valued,
Not petty things admitted.'' — A. and C. v. I. 146.
i.e. "exactly, if petty things be excepted."
The participle is sometimes so separated from the verb that it
seems to be used absolutely.
** Resolve me with all modest haste which way
Thou might'st deserve, or they impose this usage,
Coining from us. " — Lear, ii. 4. 27.
i.e. " since thou comest."
" But deing moody give him line and scope."
2 Hen. IV. iv. 4- 39.
*' And " is sometimes joined to a participle or adjective thus used.
See And, 95-
" What remains
But that I seek occasion how to rise.
And yet the king not pi-ivy to my drift." — 3^7^;?. VI. i. 2. il.
" But when the splitting wind
Makes flexible the knees of knotted oaks.
And flies (being) yf^t/ under shade." — Tr. and Cr. i. 3. iJl.
i.e. "the flies also being (295) fled."
378. Participle without Noun. This construction is rare in
earlier English.
PAR T2CIPLES. ^^<j
"My name is gret and merveylous, treuly you telland." — Cov.
Mysi. (Matzner).
Here again, as in 93, we must bear in mind the constant con-
fusion between the infinitive, the present participle, and the verbal.
In the above example we should expect the infinitive, "to tell you
the truth," and perhaps "telland" is not exactly used for, but
confused with, "tellen."*
It is still a usual idiom with a few participles which are employed
almost as prepositions, e.g. "touching," "concerning," "respect-
ing," "seeing." "Judging" is also often thus incorrectly used,
and sometimes " considering ;" but we could scarcely say —
" Or in the night imagining (if one imagines) some fear.
How easy is a bush suppos'd a bear." — M. N. D.v. i. 21.
" Here, as I point my sword, the sun arises,
Which is a great way growing on the south.
Weighing the youthful season of the year." — y. C. ii. 1. 108.
Note especially —
" I may not be too forward.
Lest (I) being seen thy brother, tender George,
Be executed." — Rich. III. v. 3. 95.
" (It must be done) something from the palace, sd-ways thought
That I require a clearness." — Macbeth, iii. I. 132.
I. e. " it being always borne in mind."
" (Death sits) infusing him (man) with self and vain conceit,
And, (man having l)een) hu77iour' d ihyxs,
(Death) comes at the IzisV'—Rich. II. iii. 2. 168.
This use is common in prose.
" He was presently suspected, judging (since men judged) the ill
success not in that he could not, but ... for that he would not." —
N. P. 182.
So "being," i.e. "it being the fact," is often used where we use
' ' seeing. "
"You loiter here too long, being you are to take soldiers up ii
counties as you go. " — 2 Hen. IV. ii. I. 200 ; M. Ado, iv. I. 51.
" Though I with death and with
Reward did threaten and encourage him,
Not doing \ and (it) ^<?2V/^ done. " — W. T. iii. 2. 166.
* It would be interesting to trace the corresponding process in French by which
the gerund "dicendo" and the participle "dicens" were blended in "disant."
It was not till the beginning of the eighteenth century that the Academy definitely
pronounced " La regie est faite. On nefera plus accorderlesparticipes presents '
But from the earliest limes the d of the gerund became t.
278 SHAKESPEARIAN GRAMMAR.
i.e. "I threatened him, not doing it, with death, and encoi; raged
him with reward, (it) being done ;" a specimen of irregular terseness
only to be found in Elizabethan authors and in Mr. Brownmg's
poems.
The context often suggests a noun or pronoun :
*' If not that, I being queen, you bow like subjects,
Yet that, (I being) by you deposed, you quake like rebels.'*
Rich. III. i. 3. 162.
" But her eyes —
How could he see to do them ? Having made one,
Methinks it should have power to steal both his,"
M.ofV. iii. 2. 125.
t.e. " when he had made one."
'^ Had, having, and in quest to have, extreme." — Sonn. 129.
i.e. "when an object is had, possessed," unless it is still more irre-
gularly used for "having had."
This irregularity is perhaps in some cases explained by 372.
379. Participle with Pronoun implied. Sometimes a pro-
noun on which a participle depends can be easily understood from
a pronominal adjective. Compare
" JVosiros vidisii Jieniis ocellos."
So " Not /z^^/«^, death's wjj/ fee. " — A. IV. ii. x. 192.
I.e. " death is the fee 0/ me not helping."
"Men
Can counsel speak and comfort to that grief
Which they themselves not feel ; but, tasting it,
Z'/^^/V counsel turns to passion." — M. Ado, v. I. 22.
"She dares not look, yet, wiiikijig, there appears
Quick-shifting antics ugly in her eye." — R. of L. 458.
" Co7ni7tg (as we came) from Sardis, on our former ensign
Two mighty eagles fell." — J. C. \. i. 80.
380. Instead of the Participle an Adjective is sometimes
found.
" I would not seek an absent argument
Of my revenge, thou preseiit." — A. V. L. iii. I. 4.
" And (she), her attendants absent, sAvallowed fire. " — J. C. iv. 3, 156.
" Joy ah^ent^ grief is present for that time." — Rich. II. i. 3. 259. ,
1
ELLIPSES. 279
Soinetimes the adjective depends on an implied pronoun :
" Thy word is current with him for my death,
But dead, thv kingdom cannot buy my breath. "
Rich. II. i. 3. 232.
i. e. " the breath of me when dead, "
" It is an obvious conjecture from this use of "absent," "present,"
"dead," that their quasi-participial terminations favoured this par-
ticipial use. But add
" Thence,
A prospei'otcs south-wind friendly, we have cross'd."
W. T. v. I. 161.
381. Th8 Participle is sometimes implied in the case of
a simple word, such as "being."
*' I have heard him oft maintain it to be fit that S07is (being) at
perfect age and fathers declining, the father should be as ward to the
son." — Lear, i. 2. 77.
"And be well contented
To make your house our tower. You (being) a brother of us,
It fits we thus proceed, or else no witness
Would come against you. " — Hen. VIII. v. i. 106.
i.e. "Since you are our brother." (Or (?) "though you were our
brother, it [would be and] is fit to proceed thus.")
" (Those locks are) often known
To be the dowry of a second head.
The skull that bred them (being) in the sepulchre."
M. of V. iii. 2. 96.
We retain this use in antithetical phrases, such as "face to face,"
"sword against sword," but we should rarely introduce an adjective
into such an antithetical compound. Shakespeare, however, has
" And answer me declined sword 'gainst sword."
A. and C. iii. 13. 27.
ELLIPSES.
382. Several peculiarities of Elizabethan language have already
been explained by the desire of brevity which characterised the
authors of the age. Hence arose so many elliptical expressions that
they deserve a separate treatment. The Elizabethan authors ob-
jected to scarcely any ellipsis, provided the deficiency could be easily
supplied from the context.
28o SHAKESPEARIAN^ GRAMMAR,
** Vouchsafe (to receive) good-morrow from a feeble tongue,"
J. C. ii. I. 313.
lin?'^
'* When shall we see (one another) again
Cymb. i. I. 124 ; Tr. and Cr. iv. 4. 59,
Just so we still use "meet."
** You and I have known (one another), sir."
A. and C. ii. 6. 86 ; Cymb. i. 4. 36.
" On their sustaining garments (there is) not a blemish,
But (the garments are) fresher than before."
Tempest, i. 2. 219.
Thus also, as in Latin, a verb of speaking can be omitted where
it is implied either by some other word, as in
"She calls me proud, and (says) that
She could not love me." — A. Y. L. iv. 3. 16.
** But here's a villain that would ytzr*? me dozvn
He met me on the mart." — C. of E. iii. i. 7.
ue. "maintain to my face that he met me ;" or by a question as in
' ' What are you ?
(I ask) Your name and quality ; and why you answer
This present summons." — Lear, v. 3. 120.
(The Globe inserts a note of interrogation after quality. )
"Enforce him with his envy to the people,
And (say) that the spoil got on the Antiates
Was ne'er distributed." — Coriol. iii. 3. 4.
Thus, by implying from "forbid" a word of speaking, "bid," and
not by a double negative, we should perhaps explain
" You may as well forbid the mountain pines
To wag their high tops and (bid them) to make no noise. "
M. cf V. iv. I. 76.
Thus " I know not whether to depart in silence
Or bitterly to speak in your reproof
Best fittet'h my degree or your condition.
If (I thought it fittest) not to answer, you might haply
think," Sic— Rick. III. iii. 7. 144.
After "O !" "alas !" and other exclamations, a verb of surprise
or regret is sometimes omitted.
" (it is pitiful) that deceit should steal such gentle shapes."
Rich. in. ii. 2. 27.
" Good God ! (I marvel that) these nobles should such
stomachs bear :
I myself fight not once in forty year." — i Hen. VI. i. 3. 90.
ELLIPSES. 281
Sometimes no exclamation is inserted :
•' Ask what thou wilt. (I would) That I hud said and done. "
2 Hen. VI. i. 4. 31.
Ellipses in Conjunctional Sentences. The Elizabethans
seem to have especially disliked the repetition which is now con-
sidered necessary, in the latter of two clauses connected by a relative
or a conjunction.
383. And:
** Have you
Ere now denied the asker, aiid now again
Of him that did not ask but mock (do you) bestow
Your sued-for tongues?" — Coriol. ii. 3. 213.
Here in strictness we ought to have "bestowed," or ' do you
bestow."
An ellipse must be supplied proleptically in
** (Beggars) Sitting in the stocks refuge their shame,
That {i.e. because) many have (sat), and many must sit
there."— i?jV//. //. v. 5. 27.
** Of (such) dainty and such picking grievances."
2 Hen. IV. iv. i. 198.
*'It {i.e. love) shall be (too) sparing and too full of riot."
V. and A. 1 147,
"It shall be (too) merciful and too severe." — lb. 1155.
384. As:
" His ascent is not so easy aj (the ascent of) those who," &c.
Coriol. ii. 2. 30.
** Returning were aj- tedious as (to) go o'er." — Macb. iii. 4. 138.
"They boldly press so far as (modern Eng. ///«/) further none
(press)."— B. J. Cy.'s Rev. v. 3.
" O, 'tis sweating labour
To bear such idleness so near the heart
As Cleopatra (bears) this." — A. and C. i. 3. 95.
" And I, that haply take them from him now,
May yet ere night yield both my life and them
To some man else, as this dead man doth (to) me."
3 Hen. VI. ii. 5. 60.
** Return those duties back oj (they) are most fit (to be returned)."
Lear, i. i. S9.
Ai can scarcely, in the above, be taken for " which."
282 SHAKESPEARIAN GRAMMAR.
" Tliis is a strange thing (as strange) as e'er I look'd on."
Tetnp. V. 1. 280,
385. But (after but the finite verb is to be supphed without the
nqg^ative) :
"The tender nibbler would not take the bait
But (would) smile and jest." — P. P. 4.
"To be thus is nothing,
But to be safely thus (is something)." — Macbeth^ iii. I. 47.
"And though I could
With barefaced power sweep him from my sight
And bid my will avouch it, yet I must not,
(For certain friends that are botli his and mine.
Whose loves I may not drop, ) but (I must) wail his fall
Who I myself struck down." — Macbeth^ iii. t. 119.
Sometimes but itself is omitted :
" 'Tis not my profit that doth lead mine honour,
[But it is) Mine honour (that doth lead) it {i.e. profit)."
A. and C. ii. 7. 83,
Sometimes the repeated varies slightly from the original propo-
sition :
' ' 'Tis not enough to help the feeble up,
But {it is necessary) to support him after." — 71 o/A. 1. 1. 107.
In the following, the negative is implied in the first verb througli
(he (jucstion, " Why need we? " i.e. " We need not." The second
verb must not be taken interrogatively, and thus it omits the negative.
" Why, what need we
Commune with you of this, but rather follow
Our forceful indignation?" — W. T. ii. i. 162.
i.e. "Why need we commune with you? wc need rather follow our
own impulse." Else, if both verbs be taken interrogatively, '" but "'
must be taken as "and not ;" " Why need we commune with you,
and not follow our own impulse ?"
Where the negative is part of the subject, as in "none," a new
subject must be supplied :
" God, I pray him
That Jtone of you may live your natural age
But (each of you) by some unlook'd accident cut off."
Rich. III. i. 3. 214.
386. Ere:
** The rabble should have first unroof d the city
Ere (tliey should have) so prevail'd with me."— Coriol. i. i. 222.
ELLIPSES. 2S3
*' I'll lean upon one crutch and fight with the other
Ere (I will) stay behind this business." — Coriol. i. i. 246.
387. If:
•' I am more serious than my custom ; you
Must be so too, if [you must ox intend to) heed me."
Temp. ii. i. 220.
See "must," 314.
'* I yet beseech your majesty
If (it is) for {i.e. because) I want that glib and oily art
... That you make known," &c. — LeciTy i. I. 227.
" O, if (you be) a vii-gin
And your affection (be) not gone forth, I'll make you
The queen of Naples. " — Tempest, i. 2. 447-8.
** Haply you shall not see me more, or //"(you see me),
(You will see me) A mangled shadow." — A. andC. iv. ii. 27.
This is a good Greek idiom. So
** Not like a corse : or if not to be buried.
But quick, and in mine arms." — W. T. iv. 4. 131.
In the following hypothetical sentence there is a curious ellipsis :
** Love, loving not itself, none other can." — Rich, II. v. 2. 88.
I. e. " if a man does not love his own flesh and blood he cannot (love)
a stranger."
388. Like («-^- resembling) :
"But you li/cenowQ, none (like) you, for constant heart." — Sonn.
388a. Or:
** For women's fear and love holds quantity ;
In neither (is) aught, or (it is) in extremity."
Hamlet y iii. 2. 178.
i. f " women's fear and love vary together, are proportionable : they
cither contain nothing, or what they contain is in extremes."
389. Since:
"Be guilty of my death since (thou art guilty) of my crime."
R. of L.
390. Than:
^*To see sad sights moves more than (to) hear them told."
R. of L. 4SI
284 SHAKESPEARIAN GRAMMAR.
" It cost more to get than (was fit) to lose in a day."*
B. J. FoetasUr
** Since I suppose we are made to be no stronger
Than (that) faults may shake our frames. "
M.for M.\\.6,.\%%.
**But I am wiser thati (I should be were I) to serve their
precepts." — B. J. E. out 6^<r. i. i.
" My form
Is yet the cover of a fairer mind
Than (that which is fit) to be butcher of an innocent child."
K. J. iv. 2. 258.
" This must be known ; which being kept close might move
More grief to hide, than hate to utter (would move) love."
Hai7ilet, i. I. 108-9.
i.e. "this ought to be revealed, for it (273), by being suppressed,
might excite more grief in the king and queen by the hiding (356)
of the news, than our unwillingness to tell bad news would excite
love. "
** What need we any spur but our own cause
To prick us to redress ? What other bond
Than (that of) secret Romans?"— y. C. ii. i. 125.
As in the case of "but " (385), so in the following, the verb must
be repeated without its negative force :
" I heard you say that you had rather refuse
The offer of an hundred thousand crowns
Than (have) Bolingbroke's return to England."
Rich. II. iv. I. 17.
Here, perhaps, the old use of the subjunctive "had" for "would
have " exerts some influence.
The word "rather" must be supplied from the termination er m
" The rar^'r action is
In virtue (rather) than in vengeance." — Temp. v. i. 28.
" You are well understood to be a perfect<!r giber for the table
than a necessary bencher in the Capitol." — Coriol. ii. i. 91.
■391. Though:
" Saints do not more, though (saints) grant for prayers' sake."
R. and J. i. 5. 107.
" I keep but two men and a boy (as) yet, till my mother be dead,
But what though ? Yet I live like a poor gentleman torn. "
M. W. of W. i. I. 287,
* Compare tne Greek idiom,— ^.p^, ii. 8'')3. 2. a.
ELLIPSES. 285
392. TiU :
*' He will not hear till (he) feel."— 7: of A. ii. 2. 7.
393. Too to:
'* His worth is too well known (for hin^i) to be forth-coming. "
B. J. E. out 6^c. V. I.
394. Relative, (in relative sentences the preposition is often
not repeated. )
" Most ignorant of -what he's most assured (ot)."
M.forM. ii. 2. 119.
* ' A gift of all {oi which) he dies possess'd." — M. of V. iv. 1.389,
"Err'd in this point (in) which now you censure him."
M.forM. ii. 1. 15.
"For that (for) which, if myself might be his judge,
He should receive his punishment in thanks." — lb. 4 28.
'* I do pronounce him in that very shap«e
(In which) He shall appear in proof." — Hen. VIII.'x. 1. 196
" As well appeareth by the cause (for which) you come."
Rich. H. i. I. 26.
" In this (in or of) which you accuse her." — W. T. ii. I. 133,
" In that behalf (in) which we have challenged it."
K. J. ii. I. 264.
" To die upon the bed (upon which) my father died."
W. T. iv. 4. 466.
*' In such a cause as fills mine eyes Avith tears,
And stops my tongue ^uhile (my) heart is drown'd in cares."
I Hen. VL iii. 3. 14.
There is a proleptic omission in
" Or (upon) whom frown 'st thou that I do fawn upon."
Sonn. 149.
395. Antithetical sentences frequently do not repeat pro-
nouns, verbs, &c.
** What most he should dislike seems pleasant to him,
What fhe should) like, (seems) offensive." — Lear, iv. 2. 10,
Sometimes the verb has to be repeated in a different tense.
** To know our enemies' minds we 'Id rip their hearts :
(To rip) Their papers is more lawful." — Lear, iv. 6. 266.
" To be acknowledg'd, madam, is (to be) overpaid."
lb. iv. 7. 1
286 SHAKESPEARIAN GRAMMAR.
The antithesis often consists in the opposition between past and
present time.
** I meant to rectify my conscience, which
I then did feel full sick, and/<?/ (do feel) not well."
Hen. VIII. ii. 4. 204.
*' And may that soldier a mere recreant prove
That means not (to be), hath not (been), or is not in love."
Tr. and Cr. i. 3. 288.
" She was beloved, she loved; she is (beloved) and doth (love).*
lb. iv. 5. 292.
396. Ellipsis of Neither before Nor, One before Other.
•' (Neither) He nor that affable familiar ghost."— ^'^/z/?. 80,
"But (neither) my five wits nor my five senses can
Dissuade one foolish heart fi-om seeing thee." — lb. 141.
' ' A thousand groans . . .
Came (one) on d>.nother''i neck." — lb. 131.
*' Pomp. You will not bail me then, sir.
Lucio. (Neither) Then, Pompey, nor now. "
M. for M. iii. 2. 86.
397. Ellipsis of Adverbial and other Inflections.
" The duke of Norfolk sprightfully and bold(ly)."
Rich. II. i. 3. 3.
" Good gentlemen, look fresh(ly) and merrily." — J. C. ii. i, 224.
" Apt(ly) and willingly."— 7". N. v. I. 135.
" With sleided silk, feat(ly) and affectedly. "—Z. C. 48.
" liis grace looks cheerfully and smooth(ly) this morning."
Rich. Ill iii. 4. 50.
" And she will speak most bitterly and strange(ly)."
M.forM. v. I. 36.
' How honourable(y) and how kindly we
Determine.'"' — A. and C v. I. 58.
"And that so lamely and unfashionable(y). " — Rich. III. i. i, 22.
It will not escape notice (i) that in all but two of these instances
the -ly is omitted after monosyllabic adjectives, which can be more
readily used as adverbs without change; (2) that "honourable,"
" unfashionable," &c., in their old pronunciation would approximate
to "honourably," " unfashionably," and the former is itself used ai,
an adverb. (See i.) Nevertheless it seems probable that this, like
the following idiom, and like many others, arises partly from the
readiness with which a compound phrase connected by a conjunction
v% regarded as one and hiseparable. Compare
ELLIPSES. 287
** Until her husljand('s) and my lord's return." — M. ofV. iii. 4. 30.
" As soul('s) and body's severing." — Hen. VIII. ii. 3. 16
where "soui-and-body " is a quasi-noun.
** Shall be your love('s) and labour's recompense."
Rich. II. ii. 3. 62.
398. Ellipsis of Superlative Inflection.
" The ^d-z/^rijwx and gravest citizens. " — M.forM. iv. 6. 13.
" Only the grave and wisest of the land." — Heywood (Walker),
"The soft and sweetest music." — B. J, {lb.).
" The vain and haughtiest minds the sun e'er saw."
GoFFE {Ib.y
" To mark the_/^<//-fraught man and best endued."
He7i. V. ii. 2. 139.
"The humble as the proudest sail doth bear." — Sonn. 80.
The est of the second adjective modifies the first.
Reversely we have —
"The best condition'd and unwearied spirit," — M. of V. iii. 2. 295.
where " best" modifies the second adjective.
" Call me the horrid st and unhallow'd thing
That life and nature tremble at." — Middleton (Walker).
In ** I took him for the plainest harmless creature,"
Rich. III. iii. 4. 25.
though the meaning may be "the plainest, (the most) harmless
creature," it is more likely a compound word, "plainest-harmless"
(see 2).
399. Ellipsis of Nominative. Where there can be no doubt
what is the nominative, it is sometimes omitted.
"It was upon this fashion bequeathed me by will, but poor a
thousand crowns, and as thou sayest charged my brother, on his
blessing, to breed me well." — A. V. L. i. i. 3.
" They call him Doricles : and boasts himself
To have a worthy feeding." — IV. T. iv. 4. 168.
" Who loved her so, that speaking of her foulness
(He) ^aj/^^fl'it with tears."* — M. Ado, iv. i. 156.
** (It) shall not be long but I'll he here again."
Macbeth, iv, 2. 23.
** Nor do we find him forward to be sounded,
But with a crafty madness keep aloof" — Ilamlei, iii. i. 8.
• "That" niip-ht (but for, 260) be treated as a relative pi-ono'in.
288 SHAKESPEARIAN GRAMMAR
This explains K. J. ii. i. 571, and
" When I am very sure, if they should speak,
(They) Would almost damn those ears which, " &c.
M. of F. I. I. 97,
Compare
" Come, fortune's a jade, I care not who tell her,
(Who, i.e. since she) Would offer to strangle a page of the
cellar."— B. and F.
** The king must take it ill
That he's so slightly valued in his messenger,
{That he or "iyou) Should have him thus restrained."
Lear, ii. 2. 154.
So Hen. VHI. i. 2. 197.
The following might be explained by transposition, ** may all" for
"all may :"■ but more probably "they" is implied :
** That he awaking when the other do,
May all to Athens back again repair. "
M. N. D. iv. I. 72. See also lb. v. i. 98.
400. The omission of the Nominative is most common
with "has," "is," "was," &c.
" He has" is frequently pronounced and sometimes written "has,"
and "he" easily coalesces with "was,"* "will," &c. Hence these
cases should be distinguished from those in the preceding paragraph.
" And to the skirts of this wild wood he came.
Where, meeting with an old religious man,
After some question with him was converted."
A. V. L. V. 4. 167.
"This young gentlewoman had a father whose skill was almost as
great as his honesty : had it stretch'd so far, would hz.ve. made. nature
immortal."—^. W. i. i. 20.
" Hero. I'll wear this.
Marg. By my troth, 'j- not so good." — M. Ado, iii. 4. 9 and 18.
" For Cloten
There wants no diligence in seeking him.
And (he) will no doubt be <bund." — Cynib. iv. 3. 21.
" For I. do know Fluellen valiant.
And, touch 'd with choler, hot as gunpowder ;
A.nd quickly will return an injury." — Hen. V. iv. 7. 188.
■ * This is that banish'd haughty Montague,
And here is come. " — R. and J. v. 3. 5:*
* See 461
ELLIPSES. 289
" As for Cromwell,
Beside that of the jewel-liouse, (he) is made master
O' the xo\\%r—Hen. VIII. v. i. 34 ; 50.
* T know the gentleman ; and, as you say,
There (he) was a' gaming." — Hamlet, ii. I. 58.
** Bring him forth ; has sat in the stocks all night," &c.
A. W. iv. 3. 116.
So lb. 114, 298 ; T. N.'x. 5. 156.
** 'Tis his own blame: hath put himself from rest."
Lear, ii. 4. 293.
lb. iii. I. 5; Othello, iii. i. 67; T. of A. iii. 2. 39, iii. 3. 23, iv.
3. 463. This omission is frequent after appellatives or oaths.
'* Poor jade, is wrung in the withers out of all 'cess."
I Hen. IV. ii. I. 6.
** Poor fellow, never yiyr^ since the price of oats rose." — lb. 11.
** Richard. Send for some of them.
Ely. Marry, and will, my lord, with all my heart. "
Rich. III. iii. 4. 36.
In ' ' And the fair soul herself,
Weigh'd between loathness and obedience, at
Which end o' the beam should bow," — Tempest, li. I. 131.
either " she " is omitted, or "should" is for "she would," or ** o' "
has been inserted by mistake.
401. A Nominative in the second person plural or first person
is less commonly omitted.
"They all rush by
And leave you hindermost ;
Or like a gallant horse, fall'n in first rank,
(You) Lie there for pavement to the abject rear."
7r. and Cr. iii. 3. 162L
" They . . . gave me cold looks.
And, meeting here the other messenger,
Having more man than wit about me, (I) drew."
Lear, ii. 4, 42.
The / before " pray thee," " beseech thee," is constantly omitted.
{Tempest, ii. i. 1.)
" Good-morrow, fair ones ;
(I) pray you if you know." — A. Y. L. iv. 3. 76.
i.e. "I ask you whether you know."
The inflection of the second person singular allows the nominative
to be readily understood, and therefore justifies its omissioa.
u
290 SHAKESPEARIAN GRAMMAR.
" Art any more than a steward?" — T. N. ii. 3, 122.
" It was she
First told me thou wast mad ; then (thou) earnest in smiling. "
lb. V. I. 357. .
402. Ellipsis of Nominative explained. This ellipsis ot
the nominative may perhaps be explained partly (i) by the lingering
sense of inflections, which of themselves are sometimes sufficient to
indicate the person of the pronoun understood, as in Milton —
** Thou art my son beloved : in him am pleased ;"
partly (2) by the influence of Latin ; partly (3) by the rapidity of
the Elizabethan pronunciation, which frequently changed "he" into
" 'a" (a change also common in E. E.),
•* 'a must needs," — 2 Hen. VI. iv. 2. 59.
and prepared the way for dropping "he" altogether. Thus perhaps
in ** Who if alive and ever dare to challenge this glove, I have
sworn to take him a box o' th' ear," — Hen. V. iv. 7. 132.
we should read ***a live and ever dare." In the French of Rabelais
the pronouns are continually dropped : but the fuller inflections in
French render the omission less inconvenient than in English. Ih
the following instance there is an ambiguity which is only removed
by the context : —
"We two saw you four set on four; and (you) bound them
and were masters of their wealth." — i Hen. IV. ii. 4. 278.
403. Ellipsis of It is, There is, Is.
" So beauty blemish'd once (is) for ever lost." — P. P. 13.
"I cannot give guess how near (it is) to day." — J. C. ii. i. 2.
'* Seldom (is it) when
The steeled gaoler is the friend of men."
M. for M. iv. 2. 90.
"And (it is) wisdom
To offer up a weak poor innocent lamb. " — Macb. iv. 3. 16.
" Since [there is neither (163)] brass nor stone nor earth nor
boundless sea,
But sad mortality o'ersways their power." — Sonn. 64.
"'Tis certain, every man that dies ill, the ill (is) upon his
own head." — Hen. V. iv. i. 197.
" Many years,
Though Cloten (was) then but young, you see, not wore him
From my remembrance." — Cymb. iv. 4. 23.
ELLIPSES.
291
So Hen. V. iv. 7. 132 (quoted in 402), if the text be retained.
It is a question whether "are" is omitted, or whether (less pro-
bably) (And, 95) " and" is used for " also" with a nom. absolute, in
** But 'tis not so above ;
There is no shuffling, there the action lies
In his true nature : and we ourselves (? are) compelled
To give in evidence." — Hamlet^ iii. 3. 62; 7! N. i. i. 38;
Hen. V. i. i. 57
" Which I did store to be my foster-nurse.
When service should in my old limbs lie lame.
And unregarded age (? should be) in corners thrown. "
A. V. L. ii. 3. 42.
As the verb is omitted by us constantly after "whatever," e.g.
"anything whatever," so Shakespeare could write,
" Beyond all limit of what else (is) in the world."
Temp. iii. I. 172.
Thus also " however" is for " however it may be," i.e. '* in any
case : "
** If haply won perhaps a hapless gain ;
If lost, why then a grievous labour won ;
However {it be), but a folly bought with wit. "
T. G. of V. i. I. 34.
We have passed in the use of "however" from the meaning "in
spile of what may happen in the future " to "in spite of what
happened in the past," i.e. "nevertheless."
" There is " is often omitted with "no one but," as
" (There is) no one in this presence
But his red colour hath forsook his cheeks. "
Rich. in. ii. I. 84.
" Who is" (244) is omitted in
" Here's a young maid (who is) vnth travel much oppressed,
And faints for succour." — A. Y. L. ii. 4. 75.
Othenvise the nominative (399) is omitted before "faints."
404. Ellipsis of It and There.
" Whose wraths to guard you from,
Which here in this most desolate isle else falls
Upon your head, (there) is nothing but heart -sorrow,
And a clear life ensuing." — Temp. iii. 2. 82.
** Satisfaction (there) can be none but by pangs of death."
T. N. iii. 4. 261.
u z
202 SHAKESPEARIAN GRAMMAR.
" D. Pedro. What ! sigh for the toothache?
Leon. Where (there) is but a humour or a worm."
M. Ado, iii. 2. 27 ; lb. ii. 2. 20.
" At the Elephant (it) is best to lodge."— r. N. iii. 3. 40.
" Be (it) what it \%:'—Cymb. v. 4. 149.
** The less you meddle with them the more (it) is for your
honesty." — M. Ado, iii. 3. h<o.
'Hie omission is common before "please."
** ^o please (it) him (to) come unto this place."— y. C. iii. 1. 140.
** Is (//) then unjust to each his due to give ?"
Spens. F. Q. i. 9. 38.
" (//) remains
That in the official marks invested you
Anon do meet the Senate." — Coriol. ii. 3. 147.
This construction is quite as correct as our modern form with
**«y." The sentence "That in . . . . Senate," is the subject 10
" remains." So —
"And that in Tarsus (//) was not best
Longer for him to make his rest." — Pericl. ii. Gower, 25.
" Happiest of all is (// ox this), that her gentle spirit
Commits itself to you to be directed." — M. ofV. iii. 2. 166.
We see how unnecessary and redundant our modern *' it" is from
the following passage : —
" Unless self-charity be sometimes a vice,
And to defend ourselves // be a sin." — Othello, ii. 3. 203.
This is (if the order of the words be disregarded) as good English as
our modern "Unless zVbe a sin to defend ourselves." The fact is.
this use of the modern "it" is an irregularity only justified l^y the
clearness which it promotes. "It" at the beginning of a sentence
calls attention to the real subject which is to follow. " // is a sin,
viz. to defend oneself."
The sentence is sometimes placed as the object, "it" being
omitted.
" But long she thinks (//) till he return again." — R. of L. 454.
"Being" is often used for "it being," or "being so," very much
like iv and itfi compounds in Greek.
" That Lepidus of the triumvirate
Should be deposed ; and, (it) being (so), that we det?.ia
All his revenue."—^, and C. iii. 6. 30.
ELLIPSES. , 293
• I learn you take things ill which are not so
Or, being {so), concern you not." — A. and C. ii. 2. 30.
405. Ellipses after will and is.
"I 767//," i.e. "I purpose," when followed by a preposition of
motion, might naturally be supposed to mean *^ I purpose rtvoiion.'*
Hence, as we have
^'lAe purposeth to Athens," — A. and C. iii. I. 35.
so '' I'll to him.''— R. and y. m. 2. li\.
'' IVill you along?" — Coriol. ii. 3. 157.
"Now weV/ together." — Macbeth, iv. 3. 136.
*' I will to-morrow.
And betimes I will, to the weird sisters." — lb. iii. 4. 133.
*' Strange things I have in head that will to hand."
lb. iii. 4. 139.
Compare
"Give these fellows some means (of access) to the king."
Hamlet, iv. 6. 13.
Similarly, as we have
"I must (go) to Coventry."— y?/r//. //. i. 2. 56.
"I must (go) a dozen mile to-night." — 2 Lien. IV. iii. 2. 310.
Bo "And he to England shall dXong with you." — Hamlet, iii. 3. 4.
We still say, " He is (journeying) for Paris," but not
" He is (ready) for no gallants* company without them."
B. J. E. out <&r=c. i. I.
" Any ordinary groom is (fit) for such payment."
Hen. VIII. v. I. 174.
So T. N. iii. 3. 46 ; ^. /^. iii. 6. 109.
"1 am (bound) to thank you for it." — T. of A. i. 2. 111.
Such an ellipsis explains
" Run from her guardage to the sooty bosom
Of such a thing as thou, (a thing y?^') to fear {act.), not to
delight."— (9///^//^, i. 2. 71.
Again, we might perhaps say, "This is not a sky (fit) to walk
under, " but not
" This sky is not (fit) to walk in."— ^^ C. i. 3. 39.
The modern distinction in such phrases appears to be this : when
the noun follows is, there is an ellipse of "fit," "wurthy:" w'ien
the noun precedes is, there is an elli;ise of "intended," "made.'
294
SHAKESPEARIAN GRAMMAR.
Thus : ** this is a book to read" means *' this is a book worthy to
read;" but, "this book /j to read and not to tear," means "this
book is intended or made for the purpose of reading," This dis-
tinction was not recognized by the Elizabethans. When we wish to
express "worthy" elliptically, we insert a: "He is a man to re-
spect," or we use the passive, and say, "He is to be respected."
Shakespeare coukl have written "He is to respect" in this sense.
The Elizabethans used the active in many cases where we should
use the passive. Thus —
" Little is to do."— Macbeth, v. 7. 28.
"What's more/^ do.''— lb. v. 8. 64; A. and C. ii. 6. 60;
y. C. iii. I. 26 ; 2 Hen. VI. iii. 2. 3.
Hence "This food is not to eat" might in Shakespeare's time have
meant "This food is not fit to eat;" now, it could only mean "m-
tended to eat." Similarly " videndus " in Cicero meant "one
who ought to be seen," ^^ worthy to be seen ;" but in poetry and
in later prose it meant "one who 7?iay be seen," "visible."
The following passages illustrate the vaiiable nature of this
ellipsis : — "I have been a debtor to you
For curtesies which I will be ever to pay you,
And yet pay still." — Cymb. i. 4. 39.
i.e. "kindnesses which I intend to be always ready to pay you, and
yet to go on paying."
We still retain an ellipsis of "under necessity" in the phrase
"I am (yet) to learn."— ^. of V. 1. i. 5.
But we should not say :
"That ancient Painter who being (under necessity) to represent
the griefe of the bystanders," &c. — Montaigne, 3.
We should rather translate literally from Montaigne : " Ay ant
a representer."
In "I a7n to break with thee of some affairs,"
T. G. of V. iii. I. 59.
the meaning is partly of desire and partly of necessity: "I want."
So Bottom says to his fellows :
"O, masters, I am (ready) to discourse wonders."
M. N. D. IV. 29-
The ellipsis is "sufficient" in
"Mark Antony is every hour in Rome
Expected ; since he went frona Egypt 'tis
A space (sufficient) for further travel." — A. and C. ii. I. 31
IRREGULARITIES. 295
IRREGULARITIES.
406. Double Negative. — Many irregulirities may be explained
by the desire of emphasis wliich suggests repetition, even where
.epetition, as in the case of a negative, neuiralizes the original
phrase :
" First he denied you had in him no right."
C. o/E. iv. 2. 7.
** You may deny that you were not the cause."
Rich. III. i. 3. 90.
** Forbade the boy he should 7iot pass these bounds." P. P. 124
^^ No Sonne, were he* never so old of yeares, might not
marry." — A.SCH. 37.
This idiom is a very natural one, and quite common in E. E.
Double Comparative and Superlative. See Adjectives, u-
407. Double Preposition. Where the verb is at some dis-
tance from the preposition with which it is connected, the preposi-
tion IS frequently repeated for the sake of clearness.
"And generally in all shapes that man goes up and down in,
from fourscore to thirteen, this spirit walks in. "
T. of A. ii. 2. 119.
** For in what case shall wretched I be /«." — Daniel.
"But on us both did haggish age steal on.^^ — A. W. i. 2. 29.
"The scene where/« we play in." — A. V. L. ii. 7. 139.
"/;z what enormity is Marcius poor /«.^" — Coriol. ii. I. 18.
" To what form but that he is, should wit larded with malice, and
malice forced with wit, turn him to?'^ — Tr. and Cr. v. i. 63.
408. "Neither . . . nor," used like "Both . . . and," fol-
lowed by "not."
" Not the king's crown nor the deputed sword.
The marshal's truncheon nor the judge's robe,
-ff^<r^z«^ them," &.C—M. for M. ii. 2. 60.
* The use of "never so " is to be explained (as in Greek, Qavixaaibv ivo*)
by an ellipsis. Thus —
" Though ne'er so richly parted (endowed)." — E. out &*c. iii. i.
means — " Though he were endowed richly — ^though ttever :x wxa were endowud
so richly."
296 SHAKESPEARIAN GRAMMAR.
This veiy natural irregularity (natural, since the unbecomingnen
may be regarded as predicated both of the "king's crown," the
"disputed sword," and the "marshal's truncheon") is very
common.
** He nor that affable familiar ghost
That nightly gulls him with intelligence
As victors of my silence cannot (406) boast. "— Sonn. 86.
The following passage may perhaps be similarly explained :
" He* waived indifferently ^twixt doing them neither good nor
h2ivm."—Coriol. ii. 2. 19, 20.
But it is perhaps more correct to say that there is here a
confusion of two constructions, " He waived 'twixt good and
harm, doing them neither good nor harm." The same con-
fusion of two constructions is exemplified below in the use of the
superlative.
409. Confusion of two Constructions in Superlatives.
" This is the greatest error of all the rest. "—M. AL D.v. i. 252.
" Of all other affections it is the most importune." — B. E.Etwy.
"York is most unmeet oi any man" — 2 Hen. VI. i, 3. 167.
^^ Of all men else fhave avoided thee." — Macbeth, v. 8. 4.
" He hath simply the best wit of any handicraft-man in Athens."
M. N. D. iv. 2. 9.
" To try whose right,
Of thine or mine* is most'm Helena." — lb. iii. 2. 337.
" I do not like the tower of any place." — Rich. III. iii. I. 68.
This (which is a thoroughly Greek idiom, though independent in
English) is illustrated by Milton's famous line —
" The fairest of her daughters Eve."
The line is a confusion of two constructions, "Eve fairer than
all her daughters," and " Eve fairest ofzSS. women." So " I dislike
the tower more than any place" and ''^ most of all places" becomes
'■* of any place."
Our modern " He is the best man that I have ever seen," seems
itself to be incorrect, if " that" be the relative to "man." It may,
perhaps, be an abbreviation of "He is the best man of the men
that I have ever seen."
• Comp. if the reading be retained —
"Which, of he or .\drJ.in, begins to aiov/ V*—Tcm^. i. i. 29.
IRREGULARITIES.
297
410. Confusion of two constructions with "whom."
" Young Ferdinand whom they suppose is drown dT
Temp. iii. 3. 92.
"Of Arthur whom they say is killed to-night." — K. J. iv. 2. 165.
** The nobility . . . whom we see have sided^ — Coriol. iv. 2. 2.
So in St. Matt. xvi. 13, all the versions except Wickliffe's have
" Whoi7i do men say that I, the son of man, am .?" Wickliffe has
*• IVIiom seien men to be mannes sone?"
The last passage explains the idiom. It is a confusion of two
constructions, e.g. ** Ferdinand toho, they suppose, is drowned"
and *'whom they suppose to be drowned."
411. Other confusions of two constructions.
"Why I do trifle thus with his despair
Is done to cure it," — Lear, iv. 6. 33.
combines " Why I trifle is to cure" and ^* My trifling is done to
cure." In itself it is illogical.
'* The battle done, and they within our power
Shall never see his pardon," — Lear, v. i. 67.
is a confusion of " let the battle be done, and they" and "the battle
(being) done, they."
" I saw not better sport these seven years day." -2 Hen, VI. ii. i. 3.
A combination of "since this day seven years" and " during /te<
seven years."
" Out of all 'cess (excess),"— i Hen. IV. ii. i. 6.
is a confusion of "to excess" or "in excess," and ^^ out of all
bounds." " So late ago," T. N. v, i. 22, seems a combhiation
of ^^ so lately " and " so short a time ago,"
"Marry that, I think, (5<? young Petruchio," — R. and J. i. 5. 133.
is a confusion of "That, I think, is" and "I think that that be."
For the subjunctive after " think," see SubjUnctivC, 368 and 299.
So, perhaps,
"This youth, howe'er distressed, appears he hath had
Good ancestors," — Cymb. iv. 2. 47.
is a confusion of " He hath had, (it) appears, good ancestors," and
'He appears to have had." This is, perhaps, better than to take
"appears" as an active verb. See 295. Precisely similar is :
" Let what is meet be said, it must be meet." — Coriol. iii. i. 170.
298 SHAKESPEARIAN GRAMMAR.
combining "Let what is meet be said to be^' and "Let it be said
(that) what is meet must be meet."
Compare 353, and add, %s a confusion of the infinitive and
imperative,
"There is no more but [to) say so." — Rich. III. iv. 2. 81.
In "We would have had you heard," lb. III. iii. 5. 56, there
may be some confusion between " you should have heard" and " we
would have had you hear ; " but more probably the full construction
is " We would have had you (to have) heard (360)," and "to have " is
omitted through dislike of repetition. So Coriol. iv. 6. 35 (415) :
" We should . . .found it so."
Compare also
' ' He would have had me (to have) gone into the steeple-house. "
Fox's y^//r;/«/ (ed. 1765), p. 57.
" He would have had me (to have) //<a:^/ a meeting. " — lb. p. 60.
412. Confusion of proximity. The following (though a not
uncommon Shakespearian idiom) would be called an unpardonable
mistake in modem authors : —
" The posture of your b/ows are yet unknown." — y. C. v. i. 33.
"Whose loss of his most precious queen and children
Are even now to be afresh lamented," — VV. T. iv. 2. 26.
" Which now the loving haste of these de^ix friends
Somewhat against our meaning have prevented."
Rich. Ill iii. 5. 56.
" The venom of such looks, we fairly hope,
//aj^^ lost their quality. " — Hen. V. v. 2, 19.
' * but yet the state oi things require.^'' — Daniel, Ulysses and Sir f)it
^'■T\vQ, approbation 6i those . . . are,^'' &c. — Cymb. i. 4. 17.
' ' How the sight
Of those smooth rising cheeks reneT.v the story
Of young Adonis."— B. F. F. Sh. i. i.
** Equality of two domestic /^?w^rj-
^r/?^^ scrupulous faction." — A. and C. i. 3. 48.
" The voice of all the gods
Make hezven drowsy." — L. L. I. iv. 3. 345.
Here, however, "voice" may be (471) for "voices."
"Then know
Tt>.c peril oi our ctirses light on thee."— A-^ jf. iii. I. 295.
IRREGULARITIES. 299
** The very thought of my revenges that way
Recoil upon myself." — W. 7\ ii. 3. 20.
" More than the scope
Of these delated articles alloiv. " — Hamlet, i, 2. 38.
The subjunctive is not required, and therefore "have "is probably
plural, in
" If the scorn of your bright eyne
Have power to raise such love in mine." — A. Y. L. iv. 3. 51.
In these cases the proximity of a plural noun seems to have caused
the plural verb, contrary to tlie rules of grammar. The two nouns
together connected by "of" seem regarded as a compound noun
with plural termination. So
** These kind-oi-kttavesy— Lear, ii. 2. 107.
** 77z^j-^ blest-/a/>-of-fixed-j/arj." — B. and F. F. Sh. ii. i.
** These happy-/a/r of lovers meet straightway." — lb.
Similarly —
** Where such as thou mayest find him." — Macbeth, iv. 2. 81.
In the following instance the plural nominative is implied from
the previous singular noun —
'* As every alien pen hath got my use,
And under thee their poesy disperse. " — Sonn. 78.
In ** And the stars whose feeble light
Give a pale shadow to the night," — B. and F, F. Sh. iii. 1.
perhaps " give" may be subjunctive after the relative. (See 367.)
413. Implied nominative from participial phrases. Some-
times a nominative has to be extracted ungrammatically from the
meaning of a sentence. This is often the case in participial phrases ;
' ' Beaten for loyalty
Excited me to treason." — Cymb. v. 5. 343.
i.e. •' my having been beaten." »
" Tke king of his own virtuous disposition.
Aiming belike at your interior hatred,
"Which in your outward actions shews itself,
Makes him to send."— ^zV/z. ///. i. 2. 63.
I.e. ** the fact that the king aims makes him to send"
414. The redundant Object. Instead of saying •*! know
what you are," in which the object of the verb '* I know" is the
clause "what you are," Shakespeare frequently introduces before
30G SHAKESPEARIAN GRAMMAR.
the dependent clause another object, so as to make the dependent
clause a mere explanation of t)ie object.
** I VwQiSN yon what you are." — Lear, i. I. 272.
" I %Q^^ yoti what you are." — T. N. i. 4. 269.
** Conceal me what I am." — lb. i. 2. 53.
" You hear the learn d Bellario what he writes."
M, of V, iv. I. 167.
"We'll hear him what he says." — A. and C. v. i. 51.
" To give me hearing what 1 shall reply."
I Hen. VI. iii. i. 28.
" But wilt thou hear me how I did proceed ?"
Hamlet, v. 2. 27.
" March on and mark King Richard how he looks."
Rich. IL iii. 3. 61; lb. v. 4 1.
" Sorry I am my noble cousin should
Suspect me that I mean no good to him."
Rich. Ill iii. 7. 89.
*' See the dew-drops, how they kiss
Every little flower that is."— B. and F. F. Sh. ii. i.
Hence in the passive :
** The queen's in labour,
(They say in great extremity) and fear'd
She'll with the labour end,"— i%«. VIII. v. i. 19.
where the active would have been " they fear the queen that she will
die." For "fear" thus used, see Prepositions, 2(X>.
So "no one asks about the dead man's knell for whom it is"
becomes in the passive ,
" The dead man's knell
Is there scarce asked, for zuho,^^ — Macbeth, iv, 3. 171.
and "about which it is a wonder how his grace should glean it"
becomes
* Which is a wonder how his grace should glean it.''
Hen. V.i. I. 53.
This idiom is of constant occurrence in Greek , but it is ver>'
natural after a verb of observation to put, first the primaiy object of
observation, e.g " King Richard," and then the secondary object,
viz. " King Richard's looks." There is, therefore, no reason what-
ever for supposing that this idiom is borrowed from the Greek. Afcer
a verb of con.manding the object cannot always be called redundant,
IRREGULARITIES 301
"(She) bade me^ if I had a friend that loved her,
I should but teach him how to tell my story."
Othello, i. 3. 165.
i.i **'she commanded me (that) I should," &c. But it is redundant in
" The constable desires thee thou wilt mind
Thy followers of repentance. " — Hen. V. iv. 3. 84.
" He wills jv^i^ . . . that you divest yourself." — lb. ii. 4. 77-8.
Compare
" Belike they had some notice of (about) the people
How I had moved them." — J. C. iii. 2. 275.
A somewhat different case of the redundant object is found in
** Know you not, master, to some kind of men
Their graces serve thetJi but as enemies ?
No more do yours," — A. Y. L. ii. 3. 10.
where the last line means, "your graces are not more semcealile
to you."
415. Construction changed by change of thought.
"One of the prettiest touches was ivheit, at the relation of the
queen's death, . . . how attentiveness wounded his daughter." —
W. T. v. 2. 94.
The narrator first intends to narrate the point of time, then
diverges into the manner, of the action.
"Purpose is but the slave to memory.
Which now, like fruit unripe, sticks on the tree,
}iut /all unshaken when they mellow be." — Hamlet, iii. 2. 201.
The subject, which is singular, is here confused with, and lost in,
that to which it is compared, which is plural. Perhaps this ex-
planation also suits :
" And then our arms, like to a muzzled bear.
Save in aspect hath ail offence sealed up," — K. J.\\. I. 250.
though this may be a case of plural nominative with singular verb.
(See 334.)
In the following, Henry V. begins by dictating a proclamation,
but under the influence of indignation passes into the imperative of
the proclamation itself :
" Rather proclaim it, Westmoreland, through our host
That he which hath no stomach to this fight
Z^^him depart."— i%;z. V. iv. 3. 35-6.
302 SHAKESPEARIAN GRAMMAR,
This is more probable than that "he " (224) is used for " man."
" Should " is treated as though it were " should have " (owing to
the introduction of the conditional sentence with "had") in the
following anomalous passage :
" We should by this to all our lamentation,
If he had gone forth consvil, fotii id it so." — Coriol. iv. 6. 35.
So Rich. III. iii. 5. 5Q (411).
The way in which a divergence can be made from the subject to
the thing compared with the subject is illustrated by
" So the proportions of defence are filled :
Which, of a weak and niggardly projection,
Doth, like a miser, spoil his coat with scanting
A little c\oi\i."—He7t. V. ii. 4. 46.
** Whose veins, like a dull river far from spring
Is still the same, slow, heavy, and unfit
For stream and motion, though the strong winds hit
With their continual power upon his sides."
B. and F. F. Sh. i. i.
" But, good my brother.
Do not, as some ungracious pastors do,
• Show me the steep and thorny way to heaven,
Whiles, like a puffed and reckless libertine,
Himself the primrose path of dalliance treads. "
Hamlet, i. 3, 50.
instead of ** whiles you tread." But in
"Those sleeping stones
That, as a waist, doth girdle you about,
Had been dishabited,"— A". J. ii. i. 216.
"doth," probably, has "that" for its subject. See Relative, 247.
In " Are not you he
T\i?i\. frights the maidens of the villagery,
Skim milk, and sometimes labour in the quern
And bootless make the breathless housewife chum?"
M. N. D. ii. I. 35-9.
the transition is natural from " Are not you the person who ?" to
" Do not you ?"
416. Construction changed for clearness. (See also 285.)
Just as (285) that is sometimes omitted and then inserted to connect
a distant clause with a first part of a sentence, so sometimes " to "
is inserted apparently for the same reason —
IRREGULARITIES, 303
"That God forbid, that made me first your slave,
I should in thought control your times of pleasure,
Or at your hand the account of hours to crave." — Sonn. 58.
Here "to" might be omitted, or "should" might be inserted
instead, but the omission would ci"eate ambiguity, and the insertion
would be a tedious repetition.
** Heaven would that she these gifts should have,
And I to live and die her slave." — A. Y. L. iii. 2. 162.
" Keep your word, Phoebe, that you'// marry me.
Or else, refusing me, to wed this shepherd. "
lb. V. 4. 21-2.
•* But on this condition, that she should follow him, and he not
to follow her." — Bacon, Adv. of L. 284.
*' The punishment was, that they should be put out of commons
and not to be admitted to the table of the gods. " — lb. 260.
" That we make a stand upon the ancient way, and look about
us and discover what is the straight and right way, and so
to walk in it."— B. E. 100.
In the following, the infinitive is used in both clauses, but the "/t?"
only in the latter : —
" In a word, a man were better relate himself to a Statue or
Picture, than to suffer his thoughts to pass in smother."
B. E. 103.
417. Noun Absolute. See also Redundant Pronoun, 243.
Sometimes a noun occurs in a prominent position at the beginning
of a sentence, to express the subject of the thought, without the
usual grammatical connection with a verb or preposition. In some
cases it might almost be called a vocative, only that the third person
instead of the second is used, and then the pronoun is not redundant.
Sometimes the noun seems the real subject or object of the verb,
and the pronoun seems redundant. When the noun is the object, it
is probably governed by some preposition understood, "as for,"
"as to."
^* My lifers foul deed, my life's fair end shall free it." — R. ofL.
" The prince that feeds great natures, they will slay him."
B. J. SejanuSy iii. 3.
** But virtue, as it never will be moved,
So lust," &.C.— Hamlet, i. 5. 53.
304 SHAKESPEARIAN GRAMMAjR,
** Look when T vow, I weep ; and v(r>.vs so bortty
In their nativity all truth appears." — M. N. D, iii. 2. 124,
But this may be explained by 376.
*"Tis certain, every majt that dies ill, the ill upon his own head."
—Hefi. V. iv. I. 197.
' ' But if I thrive, the gain of my attempt
The least of you shall share his part thereof."
Rich. III. V. 3. 267.
** That thing yoM speak of I took it for a man." — Lear, iv. 6. 77.
The following may be thus explained : —
"Rather proclaim it, Westmoreland, through our host,
That he which hath no stomach to this fight,
Let him depart." — Hen. V. iv. 3. 34.
* * That can we not . . . but he that proves the king
To him will we prove loyal." — K. J. ii. i. 271.
"lie" being regarded as the normal form of the pronoun, is appro-
priate for this independent position. So
' ' But I shall laugh at this a twelve-month hence,
That they who brought me in my master's hate
I live to look upon their tragedy." — Rich. III. iii. 2. 57.
These three examples might, however, come under the head of
Construction changed, 415* as the following (which closely
resembles the first) certainly does :
" My lord the emperor,
Sends thee this word that, if thou love thy son,
Let Marcius, Lucius, or thyself, old Titus,
Or any one of you, chop off your hand." — T. A. iii. i. 151
In this, and perhaps in the first example, the "that," like '6rt in
Greek, is equivalent to inverted commas.
" May it please your grace, Antipholus, my husband.
Whom I made lord of me, . . . this ill day
A most outrageous fit of madness took him."
C. of E. V. I. 138.
* The trumpery in my house, go bring it hither." — Temp. iv. I. 186.
It is, of course, possible to have an infinitive instead of a noun :
" To strike him dead, I hold it not a sin." — R. and J. i. 4. 61.
For the noun absolute with the participle, see Participle, 376.
418. Foreign Idioms. Several constructions in Bacon, Ascham,
and Ben Jonson, such as "ill," for "ill men" (Latin 'mali'),
" without all (question " ( * sine omni dubitatione '), seem to have been
IRREGULARITIES. ■ 305
borrowed from Latin. It is questionable, however, whether there
are many Latinisms in construction (Latinisms in the formation of
words are of constant occurrence) in Shakespeare. We may
perhaps quote —
** Those dispositions that of lati transform you
From what you rightly are." — Lear, i. 4. 242.
Compare
" He is ready to cry all this day," — B. J. Sil. Worn. 4.
as an imitation of the Latin use of * * jampridem " with the present
in the sense of the perfect. But it is quite possible that the same
thought of continuance may have prompted the use of the present,
both in English and Latin. *' He is and has been ready to cry,"&c.
The use of ** more better," &c., the double negative, and the infinitive
after * than," are certainly of English origin. The following —
" Whispering fame
Knowledge and proof doth to the jealous give.
Who than to fail would their own thought believe," —
B. J. Sejan. 2.
in the omission of "rather" after "would," reminds us of the omis-
sion of "potius" after "malo." Perhaps also
" Let that be mine,"— i^.>r M. ii. 2. 12.
is an imitation of "meum est," "It is my business."
The following resembles the Latin idiom, "post urbem conditam,"
except that there is also an ellipsis of a pronoun :
" 'Tis our hope, sir.
After (our being) well enter' d (as) soldiers, to return
And find your grace in health." — A. W. ii. i. 6.
I cannot recall another such an instance, and it is doubtful whe-
ther "after" does not here mean "hereafter:" "It is our hope
to return hereafter well-apprenticed soldiers.^' But such participial
phrases preceded by prepositions seem to be of classical origin, as
in Milton ;
"Nor delay'd
The winged saint after his charge received."
Milton, P. Z. v. 248.
** He, after Eve seduced, unminded slunk
Into the wood fast by." — lb. 332.
ind even, contrary to the paiticular Latin idiom :
" They set him free without his ransom paid." — i Hen. F/.iii, 3.72.
X
3o6 SHAKESPEARIAN GRAMMAR.
The following resembles the Latin use of ** qui si," for the English
"and if he."
*' Which parti- coated presence of loose love
Put on by us, if in your heavenly eyes
Have misbecomed our oaths and gravities." — Z. Z. L. v. 2. 778.
419. Transposition of Adjectives.
The adjective is placed after the noun :
(i) In legal expressions in which French influence can be traced :
^* Heir apparent.'" — i Hen. IV. i. 2. 65.
*' Heir general.^^ — Hen. V. i. 2. ^Q.
"Thou cam'st not of the blood-royal." i. Hen. IV. i. 2. 157,
" In the seat royal."— Rich. Ill iii. i. 164.
*' Sport royal."— T. N. u. 3. 187.
" Or whether that the body public be a horse."
M. for M. i. 2. 163.
" My letters patents (Fol. ) give me leave. "—i^/V/^, II ii. 3. 130.
{2) Where a relative clause, or some conjunctional clause, Is
understood between the noun and adjective :
* * Duncan's horses,
(Though) Beauteous and swift, the minions of their race.
Turned wild in nature." — Macbeth, ii. 4. 15.
"Filling the whole realm . . . with new opinions
(That are) Divers and dangerous." — Hen. VIII. v. 3. 18.
Hence, where the noun is unemphaticL, as "thing," "creature,"
this transposition may be expected :
"In killing creatures (that were) vile." — Cvvtb. v. 5. 252.
" He look'd upon things (that ore) precious as they were
The common muck of the world." — Coriol. ii. 2. 129.
Hence, after the name of a class, the adjective is more likely to be
transposed than in the case of a proper name. Thus
*' Celestial UisLU, goddess argentine." — P. of T. v. 2. 251.
i.e. "goddess {that bearest) the silver bow." The difference between
a mere epithet before the noun, and an additional statement conveyed
by an adjective after the noun, is illustrated by
" If yet your gentle souls fly in the air
And be not fix'd in (a) doom (that \^ perpetual."
Rich. in. iv. 4. 11, 12.
Similarly in
"With eyes severe^ and beard of formal cut." — A. Y. L. ii. 7. 156.
TRANSPOSITIONS. 307
**My presence like a xo\)t pontifical ." — I Hen. IV. Ui. 2. 56.
" eyes" and ** a robe" are unemphatic, their existence being taken
for granted, and the essence of the expression is in the transposed
adjective.
The "three" is emphatic, and the divorcing of some "souls and
bodies " is taken as a matter of course, in
" Souls and bodies hath he divorced three. " — T. N. iii. 4. 260
Somewhat similar —
" Satis/action there can be none." — lb. 262.
This relative force is well illustrated by
** Prince. I fear no uncles dead.
Glou. Nor none that live, I hope, "
Rich. III. iii. I. 146.
(3) Hence participles (since they imply a relative), and any
adjectives that from their terminations resemble participles, are
peculiarly liable to be thus transposed.
Similarly adjectives that end in -ble, -ite, and -t, -ive, -al, are often
found after their nouns, e.g. "unspeakable," " unscaleable," "im-
pregnable;" "absolute," "devout," "remote," "infinite" (often),
"past," "inveterate;" "compulsative," "invasive," "defective;"
"capital," "tyrannical," "virginal," "angelical," "unnatural."
(4) Though it may be generally said that when the noun is un-
emphatic, and the adjective is not a mere epithet but essential to
the sense, the transposition may be expected, yet it is probable that
the influence of the French idiom made this transposition especially
common in the case of some words derived from French. Hence,
perhaps, the transposition in
"Of antres vast and deserts idle." — Othello, i. I. 140.
And, besides "apparent" in the legal sense above, we have
"As well the fear of harm as harm apparent.''^
Rich. in. ii. 2. 130.
Hence, perhaps, the frequent transposition of " divine," as
"By Providence a'zV/;z<?. " — Tempest, i. 2. 158.
So " Ful wel sche sang the service devyne."
Chaucer, C. T. 122.
''Men dezout.^—Hen. V. \. I. 9.
" Unto the appetite and affection common J^ — Coriol. i. i. 108
X 2
3o8 SHAKESPEARIAN GRAMMAR.
Latin usage may account for some expressions, as
** A sectary astronomical." — Lear, i. 2. 164.
419 a. Transposition of adjectival phrases.
It has been shown above (419), that when an adjective is not a
mere epithet, but expresses something essential, and implies a rela-
tive, it is often placed after the noun. When, however, connected
with the adjective, e.g. "whiter," there is some adverbial phrase,
e.g. "than snow," it was felt that to place the adjective after the
noun might sometimes destroy the connection between the noun and
adjective, since the adjective was, as it were, drawn forward to the
modifying adverb. Hence the Elizabethans sometimes preferred to
place the adjectival part of the adjective before, and the adverbial
part after, the noun. The noun generally being unemphatic caused
but slight separation between the two parts of the adjectival
phrase. Thus "whiter than snow," being an adjectival phrase,
"whiter" is inserted before, and "than snow" after, the noun.
" Nor scar that [whiter] skin-of-hers [than snow]."
Othello, v. 2. 4.
* ' So much I hate a [breaking] cause to be
[Of heavenly oaths]."— Z. L. L. v. 2. 355.
So "A [promising] face [of manly princely virtues]."
B. and F. (Walker).
" As common
As any [the most vulgar] thing [to sense]." — Ham. i. 2. 99.
i.e. "anything the most commonly perceived."
" I shall unfold [equal] discourtesy
[To your best kindness]." — Cyvib. ii. 3. 101.
"The [farthest] earth [removed from thee]." — Sojin. 44.
"Bid these [unknown] friends [to us], welcome."
W. T. iv. 3. 65,
" Thou [bloodier] villain [than terms can give thee out]."
Macbeth, v. 8. 7.
"A [happy] gentleman [in blood and lineaments]."
Rich. II. iii. I. 9.
" As a [long-parted] mother [with her child]."
lb. iii. 2. 8. (See 194,)
*Thou [little better] thing [than earth]."— i^. iii. 4. 77.
* Vou have won a [happy] victory [to Rome]."
Coriol. v. 3. 186.
TRANSPOSITIONS. 309
Hence, even where the adjective cannot immediately precede the
noun, yet the adjective comes first, and the adverb afterwards.
"That were to enlard \i\s fat-already -pride."
Tr. and Cr. ii. 2. 205.
**May soon return to this our [suffering] country
[Under a hand accurst]." — Macbeth, iii. 6, 48.
"The [appertaining] rage
[To such a greeting]." — R. and J. iii. i. &Q.
"With [decHning] head [into his bosom]." — To/ Sh. Ind. 1. 119.
So probably
"Bear our [hack'd] targets [like the men that owe them]."
A. and C. iv. 8. 31.
This is very common in other Elizabethan authors :
"The [stricken] hind [with Shaft]."— Lord Surrey (Walker).
"And [worthie] work [of infinite reward]."
Spenser, F. Q. iii. 2. 21.
"Of that [too wicked] woman [yet to die]."
B. and F. (Walker).
" Some sad [malignant] angel [to mine honour]." — lb.
which perhaps explains
"Bring forth that [fatal] screech-owl [to our house]."
3 Hen. VL ii. 6. 56.
So " Thou [barren] thing [of honesty] and honour ! " — B. and F.
perhaps explains
"Thou perjur'd and thou [simular] man [of virtue]."
Lear, iii. 2. 54.
" Bring me a [constant] woman [to her husband]."
Hen. VI IL iii. I. 134.
** O, for my sake do you with fortune chide,
The [guilty] goddess [of my harmful deeds]." — Sonn. iii.
" To this [unworthy] husband [of his wife]."— ^. W. iii. 4. 30.
"A [dedicated] beggar [to the air]." — T. of A. iv. 2. 13.
This transposition extends to an adverb in
" And thou shalt live [as freely] as thy lord
[To call his fortunes thine]."— r. N. i. 4. 39, 40.
i.e. " as free to use my fortune as I am."
Unless " to " is used loosely like " for," the following is a case of
transposition :
" This is a [dear] manakin [to you], Sir Toby."
T. N iii. 2. 57.
3IO
SHAKESPEARIAN GRAMMAR,
420. Transposition of Adverbs.- The Elizabethan authors
allowed themselves great licence ixi this respect.
We place adverbial expressions that measure excess or defect
before the adjective which they modify, "twenty times better," &c.
This is not always the case in Shakespeare :
"Being twenty times of better fortune." — A. and C. iv. 2. 3.
"Our spoils (that) we have brought home
Do more than counterpoise, a full third part ^
The charges of the action." — Coriol. v. 6. 78.
" I am solicited not by a few,
And those of true condition." — Hen. VIII. i. 2. 18.
For not transposed, see also 305.
"Like to a harvest man that's task'd to mow
Or all, or lose his hire." — Coriol. i. 3. 40.
In "All good things vanish less than in a day" (Nash), there is,
perhaps, a confusion betM*een " less long-lived than a day" and
"more quickly than in a day." At all events the emphatic use of
" less" accounts for the transposition.
Such transpositions are most natural and frequent in the case of
adverbs of limitation, as but (see But, 54)> only, even, Sec.
" Only I say,"— Macdet/2, ill. 6. 2.
for "I only say."
" Only I yield to die."— ^ C. v. 4. 12.
for "I yield only in order to die,"
' * And I assure you
Eve7z that your pity is enough to cure me," — B. J.
for * * that even your pity. "
He did it to please his mother and to he partly proud,"
Coriol. i. I. 40.
for " and /(3r//j' to be proud. "
Somewhat similar is
" Your single bond, "—i7/ of V. i. 3. 146.
for " the bond of you alone."
421. Transposition of Adverbs. When an adverb is trans-
posed to the beginning for emphasis, it generally transposes the
subject after the verb, but adverbs are sometimes put at the be-
ginning of a sentence without influencing the order of the other
words.
ii^^.
TRANSPOSITIONS. 31 1
" Seldom he smiles."— y. C. i. 2. 205.
" For always I am Csesar." — lb. i. 2. 212.
•' No more that thane of Cawdor shall deceive."
Macbeth, i. 2. 63.
** Of something nearly that concerns yourselves."
M. N. D.\. I. 126.
422. Transposition of Article, in Early English we some-
times find **a so new robe." The Elizabethan authors, like our-
selves, transposed the a and placed it after the adjective : " so
new a robe." But when a participle is added as an epithet of the
noun, e.g. "fashioned," and the participle itself is qualified by an
adjective used as an adverb, e.g. ** new," we treat the whole as
one adjective, thus, **so new-fashioned a robe." Shakespeare on
the contrary writes —
"So new a fashion'd robe."— tT. J. iv. 2. 27.
" So fair an offer'd chain."— C of E. iii. 2. 186.
** Or having sworn too hard a keeping oath."
L. L. Z. i. I. 65.
** So rare a wonder'd father and a wife."
Temp. iv. i. 123.
"I would have been much more a fresher man."
Tr. atid Cr. v. 6. 20.
We still say, " too great a wit," but not with Chaucer, C. T, :
** For when a man hath overgret a wit,"
possibly because we regard "overgreat" as an adjective, and "too
great" as a quasi-adverb. Somewhat similar is : .
" On once-a-flock-bed, but repair'd with straw,
With tape-ty'd curtains never meant to draw. "
Pope, Moral E. iii. 301.
So we can say "how poor an instrument," regarding "how" as
an adverb, and "how poor" as an adverbialized expression, but not
"What poor an instrument," — A. and C. v. 2. 236.
because " what" has almost lost with us its adverbial force.
" So brave(ly) a mingled temper saw I never."
B. and F. (Walker).
** Chaucer, who was so great(ly) a learned scholar."
KiNASTON (Walker).
312 SHAKESPEARIAN GRAMMAR,
The a is used even aftei* the comparative adjective in
** If you should need a pin,
You could not with more tame a tongue desire it."
M. far M. ii, 2. 40.
423. Transpositions in Noun- clauses containing two
nouns connected by "of." it has been observed in 412 that
two nouns connected by *' of" are often regarded as one. Hence
sometimes pronominal and other adjectives are placed before the
whole compound noun instead of, as they strictly should be, before
the second of the two nouns.
" Yet that thy brazen gates of heaven may ope."
3 Hejt. VI. ii. 3. 40.
'^ My pith of business.''— M. for M. i. 4. 70.
"The tribunes have pronounced
My everlasting doom of banishment. ''' — T. A. iii. I. 61.
** Let it stamp wrinkles in her brow of youth.''*
Lear, i. 4. 306.
^' My latter part of life:'— A. and C. iv. 6. 39.
*^ My whole course oj life.'' — Othello, i. 3. 91.
** I will presently go learn their day of marriage.'^
M. Adoy ii. 2. 57
" Thy bruising irons of wrath." — Rich. III. v. 3. 110.
*' Thy ministers of chastisement." — lb. 113.
" /« my prime of youth." — lb. 119.
*' Thy heatoj lust."—R. oj L. 1473.
*^ My home of love." — Sonn. 109.
' ' And punish them to your height of pleasure. "
M.forM. V. I. 240.
*^ His means of death, his obscure funeral."
Hamlet, iv. 5. 213.
i.i. ** the means of his death,"
^' V^hoXh your cause of distemper ?" — Hamlet, iii. 2. 350.
** Your sovereignty of reason."— lb. i. 4. 73. (See 200.)
^^ My better part of man." — Macbeth, v. 7. 18.
^^ His chains of bondage."— Rich. II. i. 3. 89.
* Your state of fortune and your due 0/ birth. "
Rich. Ill iii. 7. 127.
This is perhaps illustrated by
"What country-man V'—T. K v. I. 238; T. ofSh. i. 2. 190.
for *' a man of what country ?"
m
TRANSPOSITIONS.
313
Tlie possessive adjective is twice repeated in
**/r^r attendants i?/ her chamber." — A. Y. L. ii. 2. 5.
So " This cause of Ro7nc,'*—T A. i. i. 32.
does not mean ^^this cause as distinguished from other causee
of Rome," but ** this, the Roman cause." Somewhat similar is
** Your reproof
Were well deserv'd of rashness, ^^ — A. and C. ii. 2. 124.
where we should say "the reproof of your rashness" (unless "of"
here means "about," "for").
"The idea of her life shall sweetly creep
Into his study of imagination ." — M. Ado, iv. I. 227.
i.e. "the study of his imagination."
" Our raiment and state of bodies." — Cariol. v. 3. 95.
"More than ten criers, and six noise of trumpets J^
B. J. Sejan. v. 7.
The compound nature of these phrases explains, perhaps, the
omission of the article in
" Hath now himself met with the fall-of-leaf."
Rich. II. iii. 4. 49.
424. Transposition of Prepositions in Relative and other
clauses. We now dislike using such transpositions as
" The late demand that you did sound me in." — Rich. III. iv. 2. 87.
"Betwixt ihat smile we would aspire to." — Hen. VIII. hi. 2. 368.
"A thousand men that fishes gnawed upon." — Rich. III. i. 4. 25.
"Found thee a way out of his wreck to rise in."
Hen. VIII. iii. 2. 438.
But it may be traced to E. E. (203), and is very common in
Shakespeare, particularly in Hen. VIII., where we even find
"Where no mention
Of me must more be heard of." — Hen. VIII. iii. 2. 435.
It has been said above (203) that the dissyllabic forms of prepo-
sitions are peculiarly liable to these transpositions. Add to the
above examples :
" Like a falcon towering in the skies,
Coucheth the fowl below."— R. of L. 506.
425. Transposition after Emphatic Words. The influence
of an emphatic word at the beginning of a sentence is shown in the
314 SHAKESPEARIAN GRAMMAR.
transposition of the verb and subject. In such cases the last as well
as the first word is often emphatic.
** In dreadful secrecy impart they did.^^ — Hamlet^ i. 2. 207.
"And so have I a noble father lost^
A sister driven into desperate terms. " — lb. iv. 7. 25.
Here note, that though the first line could be re-transposed and
Laertes could naturally say *' I have lost a father," on the other hand
he could not say *'I have driven a sister" without completely
changing the sense. " Have " is here used in its original sense, and
is equivalent to "I find." When "have" is thus used without any
notion of action, it is separated from the participle passive.
" But answer made it none." — Hamlet^ i. 2. 216.
" Pray can I not.'"— lb. iii. 3. 38.
"Supportable
To make the dear loss have I means much weaker. ^^
•>. V. I. 140.
The influence of an emphatic adverbial expression preceding is
shown in the difference between the order in the second and the first
of the two following lines : —
" As every alien pen hath got my use.
And under thee their poetry disperse." — Sonn. 78.
'' Idid, my lord.
But loath am to produce so bad an instrument."
A. W. V. 3. 201.
*^ Before the time I did Lysander see.
Seem' d Athens as a paradise to me." — M. N. D.\. I. 205.
When the adverbs "never," "ever," are emphatic and placed
near the beginning of a sentence, the subject often follows the verb,
almost always when the verb is "was," &c. We generally write
now "never was," but Shakespeare often wrote " (there) was
never."
** Was never widow had so dear a loss." — Rich. III. ii. 2. 77.
Sometimes a word is made emphatic by repetition :
" Sec. 0. Peace ! We'll hear him.
Third 0. Ay, by my beard will we."—T. G. of V. iv. 1. 10.
" Hamlet. Look you, these are the stops.
Guild. But these cannot I command." — Hamlet^ iii. 3, 377.
Or partly by antithesis, as well as by its natural importance :
TRANSPOSITIONS. 315
" I your commission will forthwith despatch,
And he to England shall along with you."
Hamlet, iii. 3. 3, 4.
** My soul shall thine keep company to heaven."
Hen. V. iv. 6. 16.
The following is explained by the omission of " there :"
" I am question'd by my fears . . . that (there) may blow
No s neaping winds TiXYiOTix^" — W. T, i. 2. 13.
There seems a disposition to place participles, as though used
absolutely, before the words which they qualify.
"And these news.
Having been well, that would have made 7ne sick,
Being sick, have in some measure made me well."
2 Hen. IV. i. i. 138,
It is rare to find such transpositions as
" Then the rich jewell'd coffer of Darius,
Transported shall be at high festivals." — i Hen. VI. \. 6. 26.
Transpositions are common in prose, especially when an adverb
precedes the sentence.
*' Vet hath Leonora, my onely daughter, escaped.''*
Montaigne (Florio), 225.
** And, therefore, should not we marry so young." — lb.
*' Now, sir, the sound that tells what hour it is
Are clamorous groans," — Rich. II. v. 5. 56.
is rather a case of " confusion of proximity " (*' are " being changed
to " is ") than transposition. (See 302.)
426. Transposition after Relative. The relative subject,
possibly as being somewhat unemphatic itself, brings forward the
object into a prominent and emphatic position, and consequently
throws a part of the verb to the end, not how^ever (as in German)
the auxiliary.
" By Richard that dead is:'— \ Hen. IV. i. 3. 146.
" But chide rough winter that theflaiuer hath killed:'— R. of L.
'• That heaven's light did hide."— '^VY.^%. F. Q.'\. i. 7.
427. Other Transpositions, in the second of two passive
clauses when the verb "is" is omitted, the subject is sometimes
transposed, perhaps for variety.
3i6 SHAKESPEARIAN GRAMMAR.
** When liver, heart, and brain,
These sovereign thrones, are all supplied, and filled
(Are) Ker sweet perfections with one self king."
T. N. i. I. 39.
** Since his addiction was to courses vain.
And never (was) noted in him any study." — Hen. V. i. 1.57.
It is not probable that "perfections" and "study" are here ab-
solutely used with the participle. See, however, And, 95-
In ^^^y such two that would by all likelihood have confounded
each other" [Cynib. i. 4. 53), "two" is emphatic, like "a pair."
So "we" is emphatic in, "all we like sheep have gone astray," and
in Hamlet^ ii. 2. 151, in both cases, because of antithesis.
" Into the madness wherein now he raves
And all we mourn for." — Hamlet, ii. 2. 151. (See 240.)
COMPOUND WORDS.
428. Hybrids. The Elizabethans did not bind themselves
by the stricter rules of modem times in this respect. They
did not mind adding a Latin termination to a Teutonic root,
and vice versd. Thus Shakespeare has " increaseful, " " bode-
ment," &c. Holland uses the suffix ^v after the word "fool " (which
at all events does not come to us direct from the Latin), "foolify,"
where we use "stultify." The following words illustrate the Eliza-
bethan licence : —
" Bi-fold."— 7>. and Cr. v. 2. 144.
" Out-cept."— B. J. (Nares).
"Exteriorly."— a: J. iv. 2. 257.
" Sham'st thou not, knowing whence thou art extraught ?"
3 Hen. VI. ii. 2. 142.
where there is a confusion between the Latin "extracted" and the
English "raught," past part, of "reach." Compare Pistol's "ex-
hale," Hen. V. ii. i. ^^, i.e. "ex-haul," "draw out," applied to a
sword.
There was also great licence in using the foreign words which
were pouring into the language.
" And quench the stelled fire?,." — Lear, iii. 7. 61.
** Be aidant and remediate." — lb. iv. 4. 17.
" Antres vast and deserts idle." — Othello^ i. 3. 140.
COMPOUND WORDS. 317
429. Adverbial Compounds.
"Till Harry's back-return." — Hen, V. v. Prologue, 41.
*'Thy here-approach" Macb. iv. 3. 133, 140 ; ** Our hence-going,''
Cymb. iii. 2. 65 ; '' Here-kence," B. J. Poetcist. v. i ; "So that men
are punish'il for before-breach of the king's laws in now-the-kin^ s-
quarrel,'' Hen. V. iv. i. 179, i.e. "the king's now (present) quarrel."
This last extraordinary compound is a mere construction for the
occasion, to correspond antithetically to "before-breach," but it
well illustrates the Elizabethan licence.
" The steep-up heavenly hill." — Sonn. 7.
" I must up-fill this osier cage of ours." — R. and J. ii. 3. 7.
" Up-hoarded. '—Hamlet, i. i. 136.
"With hair ?//-j-/ar/«^." — Tempest, i. 2. 213.
430. Noun- Compounds. Sometimes the first noun may be
treated as a genitive used adjectively. (See 22.) Thus, " thy heart-
blood" {Rich. II. iv. I. 38) is the same as " \hy heart' s blood;"
'"brother-love" {Hen. VIII. v. 3. 73), i.e. brother's lave.
So '" Any-moment-leisure." — Hamlet, i. 3. 133.
"'This childhood-^xooi."—M. of V. i. i. 144.
'' Childhood-'imioc&nce." — M. N. D. iii. 2. 202.
"All the region-kites." — Hamlet, ii. 2. 607.
"A lion-fell." ~M. N. D. v. i. 227, i.e. "a lion's skin."
So probably
'" Faction-traitors." — Ri^h. II. ii. 2. 57.
"Self" is used as a compound noun in "self-conceit," and this
explains
* * Infusing him with self-and-vain-conceit. " — Rich. II. iii. 2,166.
" "Every minute-while," — i Hen. VI. i. 4. 54.
where "while" has its original force as a noun = "time."
But often when a noun is compounded with a participle, some
preposition or other elUpse must be supplied, as "like" in our
'' stone-still," &.C., and the exact meaning of the compound can only
be ascertained by the context.
" lVind-cha7tging Warwick." — 3 Hen. VI. v. I. 57.
*' My furnace-burning heart." — lb. ii, I. 80.
i.e. "burning //y('i? a furnace,"
"Giant-rude," A. Y. L. iv. 3. 34; *' marble-comtant" A. and C
V. 2. 240; '' honey-heavy-dew," J. C. ii. i. 230; so ''ftcwer-
3i8 SHAKESPEARIAN GRAMMAR.
soft hands," A. aiid C. ii. 2. 215; ''maid-pale peace," Rich. II.
iii. 3. 98 ; **an orphan's water-standing eye," 3 Hen. VI. v. 6. 40,
i.e. "standing with water;" ''weeping-ripe" L. L. L. v. 2. 274,
"ripe y^r weeping;" "thought-sick" Hamlet, iii. 4. 51, i.e. "as
i.e. the resu/t 0/ thought ;" so "lion-sick" Tr. and Cr. ii. 3. 13, is
explained lower down, "sick ^ proud heart;" "pity -pleading
eyes," R. of L. 561, i.e. " pleading y^;' pity ;" " peace-parted %o\x\s,"
Hamlet, v. 1. 261, i.e. "souls that have departed in peace;"
"fancy-free," M. N. D. ii. i. 164, i.e. " {vqq frofn fancy (love) ;"
" child-changed i-3.\kvQX," Lear. iv. 7. 17, i.e., " changed to a child."
Or the noun is put for a passive participle or an adjective.
" Upon your sword sit laurel^e^) victory." — A. andC.'x. 3. 100.
" The honey of his music{'3\) vows." — Hamlet, iii. i. 164.
" The venom{Q^x%) clamours of a jealous woman,"
C. ofE. V. I. 69; so R. of L. 850.
"The Carthage Qi^een."—M. N. D.\. i. 173.
"Your Corioli walls."— C^rzV/. i. 8. 8 ; ii. i. 180.
" Om Rome g2Xt.%."—Ib. iii. 3. 104: lb. iv. 5. 214.
For similar examples, see 22.
Sometimes the genitive is .used :
" I'll knock your knave^s pate."
T. ofSh. i. 2. 12; C. of E. iii. i. 71
431. Preposition-Compounds.
" An after-dinner's (comp. 'afternoon's ') breath."
Tr. and Cr. ii. 3. 120.
"At after-supper."— Rich. Ill iv. 3. 31 ; M. N. D. v. i. 34.
" At over-night."— A. W. iii, 4. 23.
" The falling-from of his friends." — T. of A. iv. 3. 400.
The preposition usually attached to a certain verb is sometimes
appended to the participle of the verb in order to make an adjective.
" There is no hoped-for mercy." — 3 Hen. VI. v. 4. 35.
" Some never-heard-of toxtwxvsxg pain," — T. A. ii. 3. 285.
for "unheard-of."
" Your jz^d'^y^r tongues," — Coriol. ii, 3. 216.
" Bemock'd-at stab?,.'"'— Temp. iii. 3. 63.
" The unthought-on accident." — IV. T. iv. 4. 549,
" Your unthought-of Harry." — i Hen. IV. iii. 2. 141.
COMPOUND WORDS. 319
432. Verb-Compounds. Verbs were compounded with their
objects more commonly than with us.
** Some carry-tale, som& please-ynan, some slight zany,
Some mumble-jiews." — L. L. L. v. 2. 463-4.
'' M\ find-faults:'— Hen. V. v. 2. 298.
We still use ** mar-plot" and "spoil-sport." Such compounds
seem generally depreciatory. " Weather-fend " in
** In the lime grove which weather-fends your cell,"
Temp. V. I. 10.
means "defend from the weather," and stands on a somewhat
different footing.
One is disposed to treat "wilful-blame" as an anomalous com-
pound in
" In faith, my lord, you are too wilful-blamed'
I Hen. IV. iii. I. 177.
like ''K false-heart traitor."— 2 Hen. VI. v. I. 143.
But "heart" is very probably a euphonious abbreviation of
"hearted." The explanation of "too wilful-blame'' is to be sought
in the common expression " I am too blame," Othello^ iii, 3. 211,
282 ; M. of V. v. i. 166. "I am too too blame," is also found in
Elizabethan authors. It would seem that, the "to" in " I am to
blame" being misunderstood, "blame" came to be regarded as an
adjective, and "to" (which is often interchanged in spelling with
"too") as an adverb. Hence "blame," being regarded as an
adjective, was considered compoundable with another adjective.
433. Participial Nouns. A participle or adjective, when
used as a noun, often receives the inflection of the possessive case
or the plural.
" His chosen's merit."— B. and F. F. Sh. iii. i.
" All cruels else subsciibed." — Lear, iii. 7. 65.
i.e. "All cruel acts to the contrary being yielded up, forgiven."
Compare for the meaning Lear, iv. 7. 36, and for ""subscribe,"
Tr. and Cr. iv. 5. 105. Another explanation is, "all other cruel
animals being allowed entrance."
So " Vulgars," W. T. ii. i. 94 ; " Severals," Hen. V.li. 86, i.e.
"details."
" Yon c(i\xa].potents."—IC. J. ii. i. 357.
"To the ports
The discontents repair." — A. and C. i. 4. 39.
320 SHAKESPEARIAN GRAMMAR.
" I/Cad me to the revolts (revolters) of England here.'*
K. y. V. 4. 7 : «50 Cymb. iv. 4. 6.
Add, if the text be correct :
** The Norway s* 'king." — Macbeth, i. 2. 59.
i.e. •* the king of the Norwegians."
It would appear as though an adjective in agreement with a plural
noun received a plural inflection in
** 'Lett&rs-patents."—B'en. VIII. iii. 2. 249 ; Rich. II. ii. i.
202 (Folio), 3. 130.
More probably the word was treated by Shakespeare as though
it were a compound noun. But in E. E. adjectives of Romance
origin often take the plural inflection.
** Lawless r^jtf/ato." — Hamlet, i. i. 98.
" Mighty opposites."—Ib. v. ii. 62.
434. Phrase-Compounds. Short phrases, mostly containing
participles, are often compounded into epithets.
" The always-7vind-obeying dite^.^^ — C. of E. i. i. 64.
*'M.y too-much-changed son." — Hamlet, \\, 2. 36.
** The ne er-yet-beaten horse of Parthia." — A. and C. iii. I. 38,
** Omx past-cure malady." — A. W. ii. i. 124.
** A past-saving &\Q.\e." — lb. iv. 3. 158.
** The none-sparing wax." — lb. iii. 2. 108.
** A jewel in a ten-times-barred-up chest." — Rtch. II. i. 1. 180.
** A too-long-wither'd ^ovf&c." — lb. ii. I. 134.
** Tempt him not so too-far." — A. and C. i. 3. 11.
** T\y.Q. to-aitd fro-conflicting wind." — Lear, iii. I. 11.
" You that have turn'd off ?ifirst-so noble wife."
A. ^, v. 3. 220.
" Of this yet-scarce-cold hsLttle." — Cymb. v. 5. 469.
" A cunning thief, or a-that-way-accomplished courtier."
lb. 1. 4. 101.
*' In this so-never-needed help." — Coriol. v. I. 34.
'* A world-without-end h^ixgaxn." — L. L. L. v. 2. 799.
See Sonn. 5.
** Our not-fearing ^xx'iaxxi." — Cymi. ii 4. 19.
** The ne'er-lust-wearied Antony." — A. and C. ii. 1. 88.
*' A ^.wenty-years-removed i\i\rLg ."~T. N. v. I 92.
PREFIXES. 321
435. Anomalous Compounds. We still, though rarely, abbre-
•/iate "the other " into "t'other," but we could not say
" The t'other" — B. J. Cy's. Rev. iv. i ; v. i (a corruption
of E. E. ))et oJ>er).
" Yea, and furr'd moss when winter flowers are none,
To winter-ground thy corpse." — Cymb. iv. 2. 229.
i.e. perhaps " to inter during winter." So " to winter -rig " is said
(Halliwell) to mean " to fallow land during winter."
"And" is omitted in
" At this odd-even and dull watch of the night."
Othello, i. I. 12^
Cicero says, that the extreme test of a man's honesty is that you
can play at odd and even with him in the dark. And perhaps
" odd-(and-)even " here means, a time when there is no distinguish*
ing between odd and even.
As there is a noun " false-play," there is nothing very remarkable
in its being converted thus into a verb :
" Pack'd cards with Ccesar 2xA false-played my glory."
A. and C. iv. 14. 19.
A terse compound is often invented for special use, made in tela*
gible by the context. Thus, the profit of excess is called
*' Poor-rich g2L\n." — R. of L. 140.
" Where shall I live now I^ucrece is ujtlived." — lb. 1754.
PREFIXES.
A-. See 24.
436. All-to (see 28) is used in the sense of " completely
asunder " as a prefix in
"And all-to-hrake his skull." — Judges ix. 53.
"Asunder" was an ordinary meaning of the prefix "to" in E. E.
It must be borne in mind that all had no necessary connection with
to, till by constant association the two syllables were corrupted into
a prefix, all-to, which was mistaken for altogether and so used.
Hence, by corruption, in many passages, where all-to or ail-too is
said to have the meaning of "asunder," it had come to mean
"aUogether," as in
" Mercutio's ycy hand had al-to frozen mine." — Hallt\\'ELL,
V
322 SHAKESPEARIAN GRAMMAR.
It has been shown (73) that too and to are constantly interchanged
in Elizabethan authors. Hence the constant use of all too for ** quite,"
"decidedly too," as in Rich. II. iv. i. 28, '^ all too base," may have
been encouraged by the similar sound oi all-to. Shakespeare does
not use the archaic all-to in the sense of "asunder," nor does
Milton probably in
** She plumes her feathers and lets grow her wings.
That in the various bustle of resort
Were all too ruffled." — Milton, Comus, 376.
437. At- in **attask'd,"Zmr, i. 4. 366 ("task'd," "blamed"),
perhaps represents the O.E. intensive prefix "of," which is some-
times changed into "an-," "on-," or "a-." But the word is more
probably a sort of imitation of the similar words " attach" and
"attack."
438. Be. The prefix be is used, not merely with verbs of colour-
ing, "smear," "splash," &c., to localize and sometimes to intensify
action, but also with nouns and adjectives to convert the nouns into
verbs •
" i9mionster. " — Lear, iv. 2. 63.
*' Be-sort."—3. i. 4. 272,
"All good 3^-fortune you."— Z G. of V. iv. 3. 41.
"^^madding." — Lear, iii. I. 38.
It is also used seemingly to give a transitive signification to verbs
that, without this prefix, mostly require prepositions :
'' Beg^-3LW."— Rick. Ill i. 3. 221.
"^Aowls the moon."— i^. N. D. v. i. 379.
"^<?speak" = "address" in Hamlet, ii. 2. 140.
'' Bevf&Q^^."—Rich. III. ii. 2. 49 ; Lear, i. 4. 324.
In participles, like other prefixes, it is often redundant, and
seems to indicate an unconscious want of some substitute for the old
participial prefix.
"Well^^-met."— Z^^r, v. i. 20.
But the theory that (5^- in "become," "believe," "belove," &c.,
represents the old ge-^ does not seem to be sound.
439. Dis- was sometimes used in the sense of uil-, to mean
••without," as
''Z>/jcompanied," Cy.'s Rev. iii. 3, for "unaccompanied,^
%.e. " without company. "
PREFIXES. 333
"A little to i/£rquantity your train." — Lear^ i. 4. 270.
"Z>whabited," K. J. ii. i. 220, = "Caused to migrate."
**Z>wlived," Chapman, = "Deprived of life."
*'Z)/jnatured," Lear, i. 4. 305, for "Unnatural."
"Z>zjnoble," Holland; "Z>wtemperate," Raleigh;
for "ignoble" and "intemperate."
" Being full of supper and a&tempering draughts."
Othello, i. I. 99.
" Z>zjcovery " is often used for "uncovering," i.e. "unfold,"
"whether literally or metaphorically. "So shall my anticipation
prevent your discovery, ^^ Hamlet, ii. 2. 305, i.e. "render your dis-
closure needless by anticipation." So Rich. III. iv. 4. 240.
440. En- was frequently used, sometimes in its proper sense of
enclosing, as "mclosed," "wguard," Lear, i. 4. 349; "^wcave,"
Othello, iv. I. 82; "How dread an army hath ^«rounded him,"
Hen. V. iv. Prol. 36; "^« wheel thee round," Othello, ii. i. 87 ;
"^?«fetter'd," ib. ii. 3. 351 ; "^wmesh," ib. 368 ; "mrank," i Hen.
VI i. I. 115; "mshelter'd and mbay'd," Othello, ii. i. 18 ; '' en-
steep'd," ib. 70; "^wgaol'd," i?/f/^. //. i. 3. 166; "^//scheduled,"
Hen. V. V. 2. 73; "mshelled," Coriol. iv. 6. 45. So "m-
bound," "mvassell'd," Daniel on Florio ; "<?wbattle" (to put in
battle array); " enhee" (to place in a state of freedom) ; "en-
tame," A. Y. L. iii. 5. 48 (to bring into a state of tameness).
But the last instances show that the locative sense can be
metaphorical instead of literal, and scarcely perceptible. There
is little or no difference between "free" and "^wfree." So
"the mridged sea," Lear, iv. 6. 71 ; "the ^wchafed flood," Othello,
ii. I. 17, are, perhaps, preferred by Shakespeare merely because
in participles he likes some kind of prefix as a substitute for the
old participial prefix. In some cases the en- or /«- seems to take a
person as its object, "^dart," R. and J. i. 3. 98 ("to set darts in,"
not "m darts"). So "^7^pierced," R. and J. i. 4. 19; and so,
perhaps, "t-wpoison," Coriol. v. 6. 11. The word "mpale"is
used JDy Shakespeare preferably in the sense of "surrounding."
"/;;zpale him with your weapons round about,"
Tr. and Cr. v. *j. 5.
means "hedge him round with your weapons." So
" Did I mpale hrra with the regal crown." — 3 Hen. VI. iii. 3. 189.
Y 2
324 SHAKESPEARIAIV GRAMMAR.
441. For- is used in two words now disused :
**i^<7rslow no longer." — 3 Hen. VI. ii. 3. 56.
" She>rdid herself. "—Zmr, v. 3. 255 ; M. N. D. v. I. 381.
In both words the prefix has its proper sense of " injury."
442. Un- for modern in- ; in- for un-. (Non- only occurs twice
m all the plays of Shakespeare, and in V. and A. 521.)
/^charitable, t'^fortunate, z«certain, ^wgrateful, wcivil, i«-
substantial.
C/Jr/possible, wwperfect, ««provident, w^^active, ««expressive,
««proper, w/zrespective, Mwviolable, wwpartial, z^wfallible,
wwdividable, e^wconstant, «;?curable, w;zeffectual, «^«measur-
able, z^wdisposed, z^wvincible (N. P. 181), ««reconcil?able
{A. andC. V. i. 47).
We appear to have no definite rule of distinction even now, since
we use M/zgrateful, mgratitude ; wwequal, zwequality. * Un- seems to
have been preferred by Shakespeare before/ and r, which do not
allow in- to precede except in the form im-. In- also seems to have
been in many cases retained from the Latin, as in the case of
**mgratus," * ' z'wfortunium, " &c. As a general rule, we now use
in- where we desire to make the negative a part of the word,
and un- where the separation is maintained — *'««true," "mfirm."
Hence un- is always used with participles — " wwtamed," &c.
Perhaps also un- is stronger than in-. *'6^«holy" means more
than "not holy," almost "the reverse of holy." But in "^'w-
attentive," "^wtemperate," /«- has nearly the same meaning, "the
reverse of."
" You wrong the reputation of your name
In so unseeiningXjo confess receipt." — L. L. L. ii. i. 156.
Here "unseeming" means "the reverse of seeming" more than
"not seeming" (like oH (p-qiii) : "in thus making us as though you
would not confess."
SUFFIXES.
443. -Er is sometimes appended to a noun for the purpose of
signifying an agent. Thus —
"A Roman sword^^." — 2 Hen. VI. iv. i. 136.
• This however is perhaps explained below. In- is a part of the rwun
" Ingratitude ; " un- in the adjective " ««grateful " means "not."
SUFFIXES. 325
*• O most gentle pulpit^."— ^. Y. L. iii. 2. 163.
'' KrviQXdXer:''— Othello, ii. 3. 301.
" Homage."— ^. and C. i. i. 31. (O. Fr. "homagier.")
*' Justic^j." — Lear, iv. 2. 79. (Late Lat. "justitiarius.")
In the last two instances the -er is of French origin, and in many
cases, as in ** enchant(?r," it may seem to be English, while really it
represents the French -eur.
**Joind<«r," T. N. v. i. 160, perhaps comes from the French
"joindre."
The -er is often added to show a masculine agent where a noun
and verb are identical :
''Tmiter."— Hamlet, i. 2. 172.
" The paus<?r reason." — Macbeth, ii. 3. 117.
** Causer. "—^/V/5. ///. iv. 4. 122.
"To you, my origin and end<?r," — Z. C. ii. 22.
Note the irregular, "Precurrer" (for "precursor"). — P. P.
We have ** windring" from *' wind*??-," Tempest, iv. i. 128, formed
after the analogy of ** wand.?r," " clamb(?r," ** wav.?r," the er having
apparently a frequentative force.
444. -En, made of (still used in golden, &c. ), is found in —
"Her thread^« fillet."— Z. C. $ : Hen. v. iii. Prol. 444-
"A twigg^w hoitlQ."— Othello, iii. 3. 152.
445. -Ive, -ble. (See 3.) -Ive is sometimes used in a passive
instead of, as now, in an active signification. Thus : " Incompre-
hens/w depths ;" " plauj/z/*?, " " worthy to be applauded ;" " direc-
tive,^' " capable of being directed ;" " insuppresszV^ metal ;" " the
fair, the inexpresszz^<f she " (similarly used by Milton in the Hymn
on the Nativity). On the other hand, -ble is sometimes used actively,
as in " medicina<5/(? " (which is also used passively), and in "un-
vcitxiidJfle."
" This is a slight unmeritable man." — J. C. iv. i. 12.
So "defensible," " deceivable, " "disputable," and "tenable."
In "Intem<^/(? sieve," A. IV. i. 3. 208, not only does -ble convey
an active meaning, but Shakespeare uses the Latin instead of the
EngHsh form of the termination, just as we still write "ter?-/ble,"
not "terrable." I imagine we have been influenced in our -able by
the accidental coincidence of meaning between the word "able"
326 SHAKESPEARIAN GRAMMAR.
and the termination -ble. But French influence must have had some
weight.
446. -Less. Sometimes found with adjectives, as " busy/<fj-j, "
" sick/^jj, " *' modest/^jj."
'Less used for "not able to be."
"That phrase/(?jj hand." — Z. C. 225; i.e. " in-describable,'"
"That termkss skin." — Id. 94.
"Sum/^jj- treasuries." — ITen. V. i. 2. 165.
"My caxtless crime." — R. of L. 771.
"Your great oppose/^jj wills." — Lear, iv. 6, 38.
It is commonly used with words of Latin or Greek origin, as above
Add " reason^jj," Hen. V. v. 4. 137; "crime/m," 2 Hen. VI.
ii. 4. 63.
447. -Ly found with a noun, and yet not appearing to convey
an adjectival meaning. " Anger- /j/," Macb. iii. 5. 1 ; T. G. of V.
i. 2. 62. Compare "wonder-/j/" in the Morte d^ Arthur, and
"cheer-/y," Tempest, i. i. 6. This is common in E. E.
The -ly represents " like," of which it is a corruption. Compare :
" Villain-like \i.t lies." — Lear, v. 3. 97.
So "master/j/," adv., W. T. v. 3. 65 ; Othello, i. i. 26 ; "hunger^,"
adv., ib. iii. 4. 105 ; " exterior/j/," adv., K. J. iv. 2. 257 ; "silvec/y,"
adv., ib. v. 2. 46. "Fellow/j/," Temp. v. i. 64, and "traitor/f,"
^. 7! iv. 4. 822, are used as adjectives. Perhaps a vowel is to be
supplied in sound, though omitted, in "unwield(i)/j/," Rich. II.
iv. I. 205; "need(i)/j/," R. and J. iii. 2. 117 ; and they may be
derived from "unwieldy" and "needy." Add "orderly," Rich. II.
i. 3. 9; ''mzxiXy,'" Macbeth, iv. 3. 235.
448. -Ment. We seldom use this suffix except where we find it
already existing in Latin and French words adopted by us. Shake-
speare, however, has "intendment," " supply ment," " designment,"
** denotement," and "hodement."
449. -Ness is added to a word not of Teutonic origin :
" Eqaalness." — A. and C. v. I. 48.
450. -Y is found appended to a noun to form an adjective.
"Slumber/ agitation." — Macbeth, v. i. 12.
" Unheed;/ haste."— il/. N. D. i. i. 237.
SUFFIXES, 327
In "Bat/;/ wings," M. N. D. iii. 2. 365, **bat/)/" seems to mean
*'//>^^ those of bats." "Wormjj/beds," /<^. iii. 2. 384, is '*worm^//«/."
'* Vastj," in "the vastj fields of France," Hen. V. Prologue, 12 ;
I Hen. IV. iii. i. 52, is perhaps derived from the noma "vast,"
Tempest, i. 2. 327; Hamlet, i. 2. 198. " Wombj vaultages, "
Henry V. ii. 4. 124: «>. "womb-like."
Y appended to adjectives of colour has a modifying force like -ish :
"Their pal^ flames. "—^^«. V. iv. Prol. 8.
" His brown;/ locks."— Z. C. 85.
451. Suffixes were sometimes influenced by the Elizabethan
licence of converting one part of speech into another. We should
append -ation or -ition, -ure or -ing, to the following words used by
Shakespeare as nouns: "solicit," "consult," " expect," &c. ; "my
depart,'' 2 Hen. VI. i. i. 2 ; 3 Hen. VI. iv. i. 92, ii. i. 110 ; " un*
curable discomfort,'' 2 Hen. VI. v. 2. 86 ; " mz^Vit. prepare for war,"
3 Hen. VI. iv. i. 131 ; "a smooth dispose," Othello, i, 3, 403 ; "his
repair," 3 Hen. VI. v. I. 20 ; "deep exclaims," Rich. III. i. 2. 52,
iv. 4. 135 ; "his brow's repine," V. and A. 490 ; " a sweet retire"
Hen. V. iv. 3. 86 ; "false accuse," 2 Hen. VI. iii. i. 160 ; "your
ladyship's wA!/<?j^," T. G. of V. iv. 3. 8 ; "the sun's appear,"'^, and
F. F. Sh. V. I ; "from suspect" 2 Hen. VI. iii. 2. 139 ; " manage,"
M. of V. iii. 4. 25 ; "■ commends," ib. ii. I. 90; " the boar's aw^^^y, "
Rich. III. V. 3. 156; "the disclose," Hamlet, iii. i. 174; "<rcw
mends," Rich. II. iii. 3. 126.
Almost all of these words come to us through the French,
Note " O heavenly mingle." — A. and C. i. 5. 59.
*' Immonient toys." — lb. v. ii. 166.
PROSODY
452. The ordinary line in blank verse consists of five feet of
two syllables each, the second syllable in each foot being accented.
" We both I have fed | as well, [ and we | can both
Endure | the wint | er's cold | as well | as he."
y. C. i. 2. 98-9.
This line is too monotonous and formal for frequent use. The
metre is therefore varied, sometimes (i) by changing the position of
the accent, sometimes (2) by introducing trisyllabic and monosyllabic
feet. These licences are, however, subject to certain laws. It would
be a mistake to suppose that Shakespeare in his tragic metre
introduces the trisyllabic or monosyllabic foot at random. Some
sounds and collections of sounds are peculiarly adapted for mono-
syllabic and trisyllabic feet. It is part of the purpose of the
following paragraphs to indicate the laws which regulate these
licences. In many cases it is impossible to tell whether in a tri-
syllabic foot an unemphatic syllable is merely slurred or wholly
suppressed, as for instance the first e in " different. " Such a foot
may be called either dissyllabic or quasi- tj-isy liable .
453. The accent after a pause is frequently on the first
syllable. The pause is generally at the end of the line, and hence
it is on the first foot of the following line that this, which may be
called the "pause-accent," is mostly found. The first syllable of
initial lines also can, of course, be thus accented. It will be
seen that in the middle of the line these pause-accents generally
folio w emphasized monosyllables. ( S ee 480-6. )
** Cdmforty I my liege! | why looks | your grace | so pale?"
Rick. II. iii. 2. 75.
Examples of the "pause -accent" not at the beginning.
(i) 'Feed and | regard | him not | Are you \ a man?"
Macbeth^ iii. 4. sS.
PROSODY. 329
Sometimes the pause is slight, little more than tl. e time neressary
for recovery after an emphatic monosyllable.
(2) " Be in I their flow j ing cups \frishly \ remember'd,''
Hen. V. iv. %. 55.
So arrange
" In these \fldtter \ ing streams, | and make | our faces."
Macbeth, iii. 2. 33.
" These " may be emphasized. (See 484. )
(3) "Who would I beheve I me. O' ! | peril \ ous mouths."
M.for M. ii. 4. 172.
(4) ** Affec I tion, pooh! | You speak | — like a \ green girl."
Hamlet, i. 3. 101.
**We shall I be call'd | — pdrgerSy \ not mur | derers."
y. C. ii. I. 180.
(5) " The life | of com | fort. But | for thee, | fellow."
Cymb. iv. 3. 9.
The old pronunciation ** fell6w " is probably not Shakespearian.
In (3) (4) and (5) "(9," "speak," "call'd," and "thee" may,
perhaps, be regarded as dissyllables (see 482-4), and the following
foot a quasi-trisyllabic one. There is little practical difference
between the two methods of scansion.
(6) " Senseless | linen t \ Happier | therein | than I."
Cymb. i. 3. 7.
Here either there is a pause between the epithet and noun, or
else "senseless" may possibly be pronounced as a trisyllable,
" Sense (486) ] less linen." The line is difficult.
" TherefSre, I merchant, I I'll lim | it thee [ this day,"
C. of E. i. I. 151.
seems to begin with two trochees, like Milton's famous line :
" U'ni I virsal \ reproadi [ far worse [ to bear." — P. L. vi. 34.
But "therefore" may have its accent, as marked, on the last
syllable.
The old pronunciation " merchant " is not probable. Or " there "
may be one foot (see 480) : " There | fore merchant | ."
(7) '■^ Ant. Obey | it on | all cause. |
Cleop. Pardon , — pardon.
A. and C. iii. ii. 68.
is, perhaps, an instance of two consecutive trochees. (There seems
no ground for supposing that "pardon" is to be pronounced as ic
330 SHAKESPEARIAN GRAMMAR.
French.) But if the diphthong "cause" be pronounced as a dis-
syllable (see 484), the difficulty will be avoided.
We find, however, a double trochee (unless "my" has dropped
out) in
" Sec. Cil. Cse'sar | has had | great wrong. |
Third Cit. Has he, | masters?"
J. C. iii. 2. 115.
Even here, however, ** wrong " may be a quasi-dissy liable (486).
(8) Between noun and participle a pause seems natural. Often
the pause represents "in" or "a-" (178).
"Thy knee | bussing \ the stones." — Coriol. iii. 2. 75.
"The smile | mScking\ the sigh." — Cymb. iv. 2. 54.
"My wind | cdoling \ my hx6t\i."—M. 0/ V. \. i. 22.
In these lines the foot following the emphasized monosyllable may
(as an alternative to the " pause -accent ") be regarded as quasi-trisyl-
labic.
453 a, Emphatic Accents. The syllable that receives an
accent is by no means necessarily emphatic. It must be emphatic
relatively to the ufiaccented syllable or syllables in the samefoot^ but it
may be much less emphatic than other accented syllables in the
same verse. Thus the last syllable of " injuries," though accented,
is unemphatic in
"The in | 'yxxies \ that they | themselves | procure."
Lear, ii. 4. 303.
Mr. Ellis (Early English Pronunciation, part i. p. 334) says that
" it is a mistake to suppose that there are commonly or regularly
five stresses, one to each measure." From an analysis of severa.
tragic lines of Shakespeare, taken from different plays, I should say
that rather less than one of three has the full number of five emphatic
accents. About two out of three have four, and one out of fifteen
has thi-ee. But as different readers will emphasize differently, not
much importance can be attached to such results. It is of more
importance to remember, (i) that the first foot almost always has an
emphatic accent ; (2) that two unemphatic accents rarely, if ever,
come together ("for " may perhaps be emphatic in
" Hear it | not. Dun | can ; for | it is | a knell,"
Macbeth, ii. i. 63) ;
and (3) that there is generally an emphatic accent on the third or
fourth foot.
PROSODY. 331
The five emphatic accciils are rommon in verses that have a pause-
accent at the beginning or in the middle of the hne.
^* Nature \ seems dead, j and wick | ed dreams | abuse."
Macbeth, ii. I. 60.
" The hand | le toward | my hand. | CSme^ let \ me clutch
thee."— /<5. ii. i. 34.
And in antithetical Imes :
" I have i thee not, | and yet \\sie\ thee still."
Macbeth, ii. i. 35.
" Bring with | thee airs \ from heaven \ or blasts \ from hell. "
Hamlet, i. 4. 41.
454. An extra syllable is frequently added before a pause,
especially at the end of a line :
(a) "'Tis not | alone | my mk | y cloak, | good mother"
Hamlet, i. 2. 77i
but also at the end of the second foot :
{b) **For mine | own sifeties; | you may | be right | ly just."
Macbeth, iv. 3. 30.
and, less frequently, at the end of the third foot :
[c] " For good I ness dares | not check thee ; \ wear thoii | thy
wrongs.'^ — Macbeth, iv. 3. 33.
and, rarely, at the end of the fourth foot :
(</) "With all I my hon j ours on | my broths," | whereon."
Temp. i. 2. 127.
But see 466.
** So dear | the love | my peo | pie bore me : \ nor set."
lb. i. 2. 141.
455. The extra syllable is very rarely a monosyllable,
still more rarely an emphatic monosyllable. The reason is obvious.
Since in English we have no enclitics, the least emphatic mono-
syllables will generally be prepositions and coniimctions. These
carry the attention forward instead of backward, and are therefore
inconsistent with a pause, and besides to some extent emphatic.
The fact that in Henry VIII., and in no other play of Shake-
speare's, constant exceptions are found to this rule, seems to me a
sufficient proof that Shakespeare did not write that play.
**Go give I 'em wel | come; you | can speak | the French
tongue:'— Hen. VIII. i. 4. 57.
**Fell by | our serv | ants, by j those men | we lov'd most.**
lb. ii. I. 122.
332 SHAKESPEARIAN GRAMMAR.
" Be sure | you be | not loose ; | for those | you make
friends:'— Heft. VIII. ii. i. 127.
"To SI I lence en [ vious tongues. | Be just | and fear not.''*
lb. iii. 2. 447.
So Hen. VIII. ii. i. 67, 78, 97 ; and seven times in iii. 2. 442-451 ;
eight times in iv. 2. 51-80.
Even where the extra syllable is not a monosyllable it occurs
so regularly, and in verses of such a measured cadence, as almost
to give the effect of a trochaic* line with an extra syllable at the
beginning, thus :
" In II 411 my [ miser [ ies ; but | thou hast ( forced me
Out Ii of (457 a) thy I honest | truth to ] play the | woman.
Let's II dr^ our | eyes : and | thus far | hear me, | Cromwell :
And II when 1 | am for- | gotten, | as I | shall be,
And II sleep in | dull cold | marble | where no | mention
Of II me must | more be | heard of, | say I | taught thee.
Say, II Wolsey, | that once | trod the I ways of | glory
And II sounded I all the | depths and [ shoals of | honour.
Found II thee a | way, out | of (457 a) his | wreck, to | rise in
A U sure and | safe one, | though thy | master | missed it."
Hen. VIIL iii. 2. 430-9.
It may be safely said that this is not Shakespearian.
** Boy" is unaccented and almost redundant in
"I part I ly know | the man : | go call | him hither, boy:^
(Folio) Rich. III. iv. 2. 41.
{Hither y a monosyllable, see 189.) And even here the Globe is,
perhaps, right in taking " Boy exit" to be a stage direction.
. In "Bid him I make haste | and meet | me at | the N6rth
gate,'^— r. G. ofV. iii. i. 258.
"gate" is an unemphatic syllable in "Northgate," like our "New-
gate." So
"My men | should call | me lord : | I am | your good-man.''*
T. ofSh. Ind. 2. 107.
"A halt I er grat | is ; no | thing else, | for God's-sake."
M. of V. iv. I. 379.
"Parts," like "sides," is unemphatic, and "both" is strongly
emphasized, in
"Rather | to show | a nob | le grace | to bdth parts."
Coriol. V. 3. 121.
* The words "trochaic" and "iambic" are of course used, when applied to
English poetry, to denote accent, not quantity.
PROSODY, . 333
So " out '' is emphatic in
" We'll have I a swash I ing and I a mart ] ial otitside."
A. Y. L. i. 3. 122.
The 's for "is" is found at the end of a line in
*' Perceive I speak sincerely, and high note.'j
Ta'en of your many virtues." — Hen. VIII. ii. 3. 59.
456. Unaccented Monosyllables. Provided there be only
one accented syllable, there may be more than two syllables in
any foot. "It is he" is as much a foot as '* 'tis he j" "we will
serve " as " we'll serve j" *' it is over "as " 'tis o'er."
Naturally it is among pronouns and the auxiliary verbs that we
must look for unemphatic syllables in the Shakespearian verse.
Sometimes the unemphatic nature of the syllable is indicated by a
contraction in the spelling. (See 460.) Often, however, syllables
must be dropped or slurred in sound, although they are expressed to
the sight. Thus in
"Provide thee \ two prop | er pal J freys, black | as jet,"
T. A. V. 2. 50
"thee" is nearly redundant, and therefore unemphatic.
" If" and "the" are scarcely pronounced m
"And in it \ are the lords | of York, | Berkeley, | and Sey-
mour." — Rich. II. ii. 3. 55.
*' Mir. I ev I er saw | so noble. |
Prosp. It goes on, | I see." — Temp. i. 2. 419.
"But that I the sea, ] mounting | to the wel j kin's cheek."
Id. 1. 2. 4.
("The" need not be part of a quadrisyllable foot, nor be sup-
pressed in pronouncing
" The cur ] iosi | ty of na | tions to | deprive me."
Lear, i. 2. 4.
Compare, possibly,
" But I have ever had that ctiriJs{i)ty."—B. and F. (Nares). )
So "to," the sign of the infinitive, is almost always unemphatic,
and is therefore slurred, especially where it precedes a vowel. Thus :
" In seeming | to augment I it wastes | it. Be | advis'd."
Hen. VIII i. i. 145.
wrhere "in" before the participle is redundant and unemphatic.
" For truth | to {t') over((7'^)peer. | Rather | than fool | it so.**
CorioL ii. 3. 128.
334 SHAKESPEARIAN GRAMMAR.
So the "I" before "beseech" (which is often omitted, as Temp.
ii. I. 1), even when inserted, is often redundant as far as sound goes.
"{/) beseech | your majes | ty, ^vt \ me leave | to go."
2 Hen. VI. ii. 3. 20.
** (/) beseech | your grac j es both | to par | don me."
Rich. Ill i. I. 84. So lb. 103.
Perhaps
*' (/) pray thee {prithee) stay | with vis, | go not | to Witt | enberg,"
Hamlet^ i. 2. 119.
though this verse may be better scanned
** I pray ] thee stay | with us, | go not | to Wittenberg." See 469.
** Let me see, | let me see ; | is not | the leaf | tum'd down ?"
J. C. iv. 3. 273.
So (if not 501)
" And I' I will kiss | thy foot : | (/) prithee be | my god."
Temp. ii. 2. 152.
"With you" is **wi' you" (as in "good-bye" for "God be
with you") ; "the" is th\ and "of" is slurred in
"Two no I ble part | ners with you; \ the old duch | ess
of^6xio\\i."—Hen. VIII v. 3. 168.
To write these lines in prose, as in the Folio and Globe, makes
an extraordinary and inexplicable break in a scene which is wholly
verse.
For the quasi-suppression of of see
"The bas ] tard of O'r | leans J with him [ is jom'd.
The duke | of Alen | jon fli j eth to | his side."
I Hen. VI i. I. 92, 93.
In the Tempest this use of unaccented monosyllables in trisyllabic
feet is very common.
" Go make | thyself | like a nymph [ o' the sea; | be subject
To no sight I but thine | and mine." — Temp. i. 2. 301.
Even in the more regular lines of the Sonnets these superfluous
syllables are allowed in the foot. Thus :
"Excuse I not si | lence so; | for V lies | in thee." — Sonn. 101 -
And even in rhyming lines of the plays :
"Call them | again, [ sweet prince, | accept | their suit ;
I'f you 1 den^ I them, all j the land | will nie V."
Rich. Ill iii. 7. 221.
This sometimes modifies the scansion. " Hour" is a dissyllable,
dnd V is absorbed, in
PROSODY. 335
"You know I I gave'/ | you half | an hoii \ r since."
C. of E. iv. I. 85.
Almost any syllables, however lengthy in pronunciation, can be
used as the unaccented syllables in a trisyllabic foot, provided they
are unemphatic. It is not usual, however, to find two such unaccented
syllables as
** Which mosf gih \ inglf, \ ungrave | ly he | did fashion."
Carlo/, ii. 3. 233.
457. Accented monosyllables. On the other hand, some-
times an unemphatic monosyllable is allowed to stand in an em-
phatic place, and to receive an accent. This is particularly the case
with conjunctions and prepositions at the end of the line. We still
in conversation emphasize the conjunctions "but," "and," "for,"
&c. before a pause, and the end of the line (which rarely allows
a final monosyllable to be light, unless it be an extra-syllable)
necessitates some kind of pause. Hence
" This my mean task
Would be as heavy to me as odious, but
The mistress which I serve quickens what's dead."
Tetnp. iii. i. 5.
"Or ere
It should the good ship so have swallow'd and
The fraughting souls within her." — lb. i. 2. 12.
" Freed and enfranchised, not a party to
The anger of the king, nor guilty of
(If any be) the trespass of the queen." — W. T. ii. 2. 62, 63.
So Temp. iii. 2. 33, iv. i. 149 ; W, T. i. 2. 372, 420, 425, 432,
449, 461, &c.
The seems to have been regarded as capable of more emphasis
than with us :
" Whose shadow the dismissed bachelor loves." — Temp. iv. i. 67.
"With silken streamers the young Phoebus fanning."
Hen. V. iii. Prol. 6.
" And your great uncle's, Edward the Black Prince."
lb. i. I. 105, 112.
"And Prosp'ro (469) the prime duke, being (470) so re-
puted."— r^zw/. i. 2. 72.
" Your breath first kindled the dead coal of war." — K. J. v 2. 83.
" Omitting the sweet benefit of time." — T. G. of V. ii. 4, 65.
536 SHAKESPEARIAN GRAMMAR.
*' So doth the woodbine, the sweet honeysuckle."
M. N. D. iv. I. 47.
"Then, my queen, in silence sad,
Trip we after the night's shade." — lb. iv. i. 101.
"His brother's death at Bristol the Lord Scroop."
I Hen. IV. i. 3. 271.
** So please you something touching the Lord Hamlet."
Hamlet, i. 3. 89.
" Thou hast affected the fine strains of honour."
Coriol. V. 3. 149, 151.
In most of these cases the precedes a monosyllable which may
be lengthened, thus :
"Your breath | first kindled | thedea | d (484) coal | of war."
So Temp. i. 2. 196, 204 ; ii. 2. 164 ; iv. i. 153.
Compare
" Oh, weep for Adonais. The quick dreams."
Shelley, Adonais, 82.
But this explanation does not avail for the first example, nor for
"That heals the wound and cures not the disgrace." — Sonn. 34.
" More needs she the divine than the physician." — Macb. v. i. 82.
(Unless, as in Rich. II. i. i. 154, " physician" has two accents :
" More needs she | the divine | than the ] physi | cian.")
On the whole there seems no doubt that "the" is sometimes
allowed to have an accent, though not (457 a) an emphatic accent.
Scan thus :
"A devil (466), I a bor | n (485) dev | il (475), on | whose
nature." — Tempest, iv. I. 188.
avoiding the accent on a.
The'm
"Then meet | and join. | Jove's light | nings,//^/ | precursors,"
Tempest, i. 2. 201.
seems to require the accent But " light(e)nings " is a trisyllable
before a pause in Lear, iv. 7. 35 (see 477), and perhaps even the
•light pause here may justify us in scanning —
" Jove's light j (e)nings, | the precursors."
457 a, Accented Monosyllabic Prepositions. Waii<er
Crit on Shakespeare, ii. 173-5) proves conclusively that "of" in
out of" frequently has the accent. Thus :
PROSODY 337
••The fount out <?/■ which with their holy hands."— B, and F.
" Into a 1 elapse ; or but suppose out <7/C" — Massinger.
** Still walking like a ragged colt,
And oft out of z. bush doth bolt." — Drayton.
Many other passages quoted by Walker are doubtful, but he
brings fonvard a statement of Daniel, who, remarking that a trochee
is inadmissible at the beginning of an iambic verse of four feet,
instances :
" Yearly out of his wat'ry cell,"
which shows that he regarded "out of" as an iambus. "Walker
conjectures " that the pronunciation (of monosyllabic prepositions)
was in James the First's time beginning to fluctuate, and that Mas-
singer was a partisan of the old mode." Hence, probably, the
prepositions received the accent in
" Such men | as he | be ne | ver at \ heart's ease."
J. C.'x. I. 208.
** Therefore (490), | out 6f\ thy long | exper | ienc'd time."
R. and J. iv. i. 60 ; Coriol. i. 10. 19.
' * Vaunt cour | iers to \ oak-cleav j ing thiin j der-bolts. "
Lear^ iii. 2. 5.
So Hen. VIII. iii. 2. 431, 438.
** To bring | but five | and twen | ty ; /t^ | no more."
Lear^ ii, 4. 251.
** Lor. Who und | ertakes | you tS \ your end. |
Vaux. Prepare there." — Hett. VIII. ii. 2. 97.
For this reason I think it probable that " to " in ** in-//?," "un-^,"
cametimes receives the accent, thus :
**^That ev | er love | did make | thee run | intS.''^
A. V. L. ii. 4. 35.
" Came then | into \ my mind, | and yet | my mind."
Lear, iv. i. 36.
*' Fan you | into \ despair. | Have the pow | er still."
Coriol. iii. 3. 127.
"I had thought, | bymak | ing this | well known | wtto you."
Lear, i. 4. 224 ; M. of V. v. I. 169.
" By this I vile gon | quest shall | attain | unto."
7. C. V. 5. 38 ; Rich. Ill iii. 5. 109.
•'Discuss 1 imt6\ me. A'rt | thou off \ icer?"
Hen. F, iv. i. 38. (But this is Pistol.)
33'<i SHAKESPEARIAN GRAMMAR,
With in " without " seems acceiUctl iii
"That won | you wilh \ out blows." — Coriol. iii. 3. 1S3.
458. Two extra syllables are sometimes allowed, if un-
emphatic, before a pause, especially at the end of the line. For
the details connected with this licence see 467-9, and 494, where
it will be seen that verses with six accents are very rare in Shake-
speare, and that therefore the following lines are to be scanned with
five accents.
** Peruse [ this letter. | Nothing | almost | sees miracles"
Lear, ii. 2. 172.
** Must be I a faith | that rea | son with [ out miracle.''^
lb. i. I. 225.
** Like one | that means | his pro | per harm | in mdnacles."
Coriol. i. 9. 57.
" Was duke | dom large | enough : | of temp(o) | ral
rSyalties.''— Tempest, i. 2. 110.
" I dare | avouch | it, sir. | What, fif | iy pilowers!"
Lear, ii. 4. 240.
**You fool I ish shep | herd, where | fore do | you follozv
her?''— A. Y. L. iii. 5. ^9.
" Of whom I he's chief, | with all ^ *he size | that verity. ''
Coriol. V. 2. 18.
*■* Ely. Incline | to it, | or no. |
Cant. He seems | indifferent.'' — Hen. V. i. i. 72.
" As if I I lov'd I my litt | le should | be dieted."
Coriol. i. 9. 52.
" Why, so I didst thou. | Come they | of no j hie family ?"
Hen. V. ii. 2. 129.
** That ne | ver may | ill off | ice or | ieW jealousy."
lb. V. 2. 491.
" That he | suspects | none ; on | whose fool | ish honesty."
Lear, i. 2. 197.
" Within I my tent | his bones | to-night | shall lie
Most like | a sold | ier, ord j er'd hon \ {oii)rably. "
7. C. V. 5. 79.
Compare
** Young man, | thoucould'st | not die ( xcioxehon | {on)rable."
lb. V. I. 60.
If " ily " were fully pronounced in both cases, the repetition woul 1
be intolerable in the following :—
PROSODY.
339
" Cor. Bat what [ is like | me for | merl^. |
Men. Thzt's wor//ii/y." — Coriol. iv. I. 53.
"The reg | ion of | my heart : | be Kent | unmannerly.''
Lear, \. I. 147
"Look, where | he comes! | Not pop | py nor | man-
drdgora:'— Othello, iii. 3. 330.
*' A's you 1 are old | and reveretid, \ you should | be wise."
Lear, i. 4. 261.
"To call I for recompense: \ appear | it to | your mind."
Tr. and Cr. iii. 3. 8.
"Is not I so est \ imable, prof | itab | le neither."
M. of V. i. 3. 167.
"Age is I un-nic \ essary: 6n | my knees | I beg."
Lear, ii. 4. 157.
" Our must | y sd \perfitiity. \ See our j best elders."
Coriol. i. I. 230.
459. The spelling (which in Elizabethan writers was more
influenced by the pronunciation, and less by the original form and
derivation of the word, than is now the case) frequently indicates
that many syllables which we now pronounce were then omitted in
pronunciation.
460. Prefixes are dropped in the following words : —
'bolden'diox "embolden'd."— ^^«. VLLL i. 2. 55.
'bffveior "above." — Macbeth, iii. 5. 31.
'boutiov "about."— rtw/. i. 2. 220.
'braid iox "upbraid."—/', of T.\. i. 93.
'calliox "recall." — B, and F.
'cameiox "became." — Sonn. 139.
' cause iox "because." — Macbeth, iii. 6. 21.
'cerns for "concerns."
" What 'cerns it you."— 7". of Sh. v. i. 77.
'cideiox "decide." — Sonn. /^6.
'cital for "recital."
" He made a blushing 'cital of himself." — i Hen. IV. v. 2. 62.
V^//,?r/ for "recollect."— B. J. Alch. i. i.
'comeiox "become."
" Will you not dance ?
How 'come yoM thus estranged?" — L. L. L. v. 2. 213.
'coragingiox "encouraging." — AscH. 17.
z 2
340 SHAKESPEARIAN GRAMMAR.
^ count for ** account."
" Why to a public ^ count I might not go."
Hamlety iv. 7. 17.
'decT^diox "endear'd."— ^. and C. i. 4. 44.
'falliox ** befall."—//^, iii. 7. 40. So in O. E.
'friend iox "befriend."— /T^;?. F] iv. 5. 17.
'gain-giving iox ** against-giving," like our " misgiving." --
Hamlet, v. 2. 226.
'gaveiox "misgave." — Coriol. iv. 5. 157 (perhaps).
So ** My minde "" gives me that all is not well " (Nares). But the
dropping of this essential prefix seems doubtful. "Gave" would
make sense, though not such good sense. In
** Then say | if they | be true. | This (mis-)sha | pen knave,"
Tefiip. V. I. 268.
Walker with great probability conjectures " mis-shap'd." In
"Told thee no lies, made thee no mistakings, serv'd,"
Temp. i. 2. 248.
it is more probable that the second "thee," not mis-, is slurred.
'get fox ''hegeC'— Othello, i. 3. 191.
'gree for "agree."— TJ/. of V. ii. 2. 108 ; T. G. of V. ii. 4
183 ; A. and C. ii. 6. 38.
'haviouriox "behaviour." — Hai7ilet, i. 2. 81.
'joy for "enjoy." — 2 Hen. VI. iii. 2. 365.
'larum for "alarum."
" Then shall we hear their 'larnm and they ours."
Coriol. i. 4. 9
Folio, "their larnm."
'las for ''2i\?i&."— Othello, v. I. 111.
'lated for " belated."—^, and C. iii. II. 3.
'less [ox "unless." — B. J. Sad Sh. iii. i.
'longs fox "belongs." — Per. ii. Gow. 40: Coriol. v. 3. 170.
7^;/^'-/«^ for "belonging."— ^^«. VIII. i. 2. 32 ; W. 7\
iii. 2. 104 ; Hen. V. ii. 4. 80.
mtss iox "amiss." — V. and A.
'mong (pronounced) for " among."
"Be bright | and jov | ial aniong \ your guests | to-night. '
Macbeth, iii. 2. 28.
" Cel. That lived | amongst men. \
CHiv And well | he might | do so. '
A. Y. L. iv. X. 124,
PROSODY. 34 »
*nighted{ox "benighted." — Lear, iv. 5. 13.
^noiniediox "anointed." — W. T. iv. 4. 813.
Anoyance iox "annoyance." — Hamlet, iii. 3. 13.
'pairs for "impairs." — B. E. 91. So in O. E.
*pale* for "impale," "surround."
" And will you ^pale your head in Henry's glory,
And rob his temples of the diadem."— 3 Hen. VI. i. 4. 103.
'pareliox "apparel." — Lear, iv. i. 51.
'plain for "complain." (Fr. plaindre.)
" The king hath cause X.o plain.'''
Lear, iii. I. 39 ; Rich. IL i. 3. 175.
Wag'diox "enraged."— ^^^-^. //. ii. i. 70.
'ray for "array."— B. J. Sad Sh. ii. "Battel ray.''
N. P. 180. O. E.
' rested iox "arrested." — C. of E. iv. 2. 42. Dromio uses which-
ever form suits the metre best.
" I know I not at I whose suit | he is | arres \ ted well ;
But he's I in a suit | of buff | which rested \ him, that can |
I tell."— C. ofE. iv. 2. 43.
So should be read
^^ King. Or yield up Aquitaine.
Princess. We {ar)rest your word."
L. L. L. ii. I. 160.
It has been objected that 'rested is a vulgarism only fit for a Dromio.
But tills is not the case. It is used by the master Antipholus E. ( C.
of E. iv. 4. 3).
' say' d fox "assay'd." — Per. i. i. 59. Comp. B. J. Cy.'sRev. iv. I.
'scape iox "escape" freq.
'sense iox '' excuse."— Othello, iv. i. 80 ; ii/. of V. iv. i. 444.
'j/d://V apparently for "forestalled." — B. J. Sejan. iii. i; for
"install'd."— i?/r/5. ///. i. 3. 206.
*j/c?«w-^V for " astonish'd."
" Ox'stonisfCdzs, night-wanderers often are." — V.andA.825k
'stroy'd iox " destxoy'd."
^''Stroy'd in dishonour." — A. and C. iii. Ii. 54.
'tend iox "attend." — Hamlet, iv. 3. 47.
'turn for "return;" 'lotted iox "allotted."
unsisting iox "unresisting" (explained in the Globe Glossary
as "unresting'').
• "Did I impale hiin with tn^ i<^x>. croivnt"— 3 Hen. VI. iii- \ 189.
3A3 SHAKESPEARIAN GRAMMAR.
" That wounds the unsisting postern with these blows."
M.for M. iv. 2. 92.
This explains how we must scan
"Prevent | it, resist ^sist\ \ it, let | it not | be so."
Rich. HI. iv. I. 148.
"A sooth I sayer bids | you beware i^ware) \ the ides | ol
March."— y. C. i. 2. 19.
** Environ'd {'virou'd) \ me about | and how | led in | mine
ezxs."—Rich. in. i. 4. 59.
"At an I y time | have recourse (^course) \ unto | the
princes." — 3. iii. 5, 109.
" Lest I' I revenge (^venge) — what ? | Myself | upon | my-
self?"—/^. V. 3. 185.
The apostrophe, which has been inserted above in all cases, is
only occasionally, and perhaps somewhat at random, inserted in the
Folio. It is therefore not always possible to tell when a verb ib
shortened, as "comes" for "becomes," or when a verb may,
perhaps, be invented. For instance, " dear'd" may be a verbal form
of the adjective "dear," or a contraction of the verb "endear'd."
" Conies (becomes) deai^d (endear'd) by being lack'd."
A. and C. i. 4. 44.
Sometimes, perhaps, the prefix, though written, ought scarcely to
be pronounced :
" How fares | the king | and 's follow | ers ? (Con) | fined |
together." — Temp. v. i. 7.
"O (de)spiteful love ! unconstant womankind,"
T. of Sh. iv. 2. 14.
unless the "O" stands by itself. (See 512.)
"(Be)16nging | to a man. | O be | some 6th | er man."
R. and J. ii. 2. 42.
461. Other Contractions are :
BarthoVmew {T. of Sh. Ind. i. 105) ; Ha'rfordior "Haverford"
{Rich. III. iv. 5. 7); diiple for "disciple" (B. J. Fox, iv. i; so
Spenser, F. Q. i. 10. 27); ignomjy for "ignominy" {M.forM.ii.
4, 111, I Hen. IV. V. 4. 100 [Fol.]; geitman (Udall) ; gentVnian
{Ham. [1603] i. 5) ; gent (Spenser) freq. for "gentle" (so in O. E.);
ealy (Chapman, Odyss.) for "easily;" parUous for "perilous"
{Rich. III. ii. 4. 35); intej^ gatories for "interrogatories" {M. ofV,
V. I. 298); cansiick for "candlestick,"—
PROSODY. 343
*' I had rather hear a brazen canstick turned."
I Hen. IV. iii. i. 131.
Maile (B. J. E. oitt 6^r. v. 4) for " marvel ;" whe'er for ** whether "
(O. E.) ; and the familiar contraction ^(?^fl'-(!'j^, " God be with you,"
which enables us to scan Macbeth, iii. I. 44. We also find in^s for
" in his ;" tJCwert for "thou wert ;" you're for "you were ; " h^wert
for "he were." So "she were" is contracted in pronunciation :
**'Twere good | she were spo | ken with: | for she | may
strew." — Hamlet, iv. 5. 14.
Vare for "you are ; " this^ for " this is :"
** O this** the poison of deep grief; it springs
All from her father's death." — Hamlet, iv. 5. 76.
" This' a I good block."— Zmr, iv. 6. 187.
So we ought to scan
" Lear. This is a \ dull sight. | Are you | not Kent? |
Kent. The same."— Zmr, v. 3. 282.
" Sir, this is \ the ^ent | leman | I told | you of."
T. ofSh. iv. 4. 20.
" Sir, this is \ the house. | Please it | you that | I call?"
lb. 1.
This, for "this is, "is also found in M. for M. v. 1. 181 (Fol. this 'a);
Temp. iv. I. 143 ; T. of Sh. i. 2. 45. Many other passages, such as
T. G.ofV. V. 4. 93, M.forM. iv. 2. 103, T. of Sh. iii. 2. 1, re-
quire is to be dropped in reading. This contraction in reading is
common in other Elizabethan authors ; it* is at all events as early
as Chaucer, Ki.iighte's Tale, 233.
Shall is abbreviated into ^se and 'j in Lear, iv. 6. 246 ; R. and J,
1. 3. 9. In the first of these cases it is a provincialism, in the
second a colloquialism. A similar abbreviation "I'st," for "I
will," "thou'st" for "thou wilt," "thou shalt," &c., seems to
have been common in the early Lincolnshire dialect (Gill, quoted by
Mr. Ellis). Even where not abbreviated visibly, it seems to have
been sometimes audibly, as,
" If that I be true | I shall see | my boy | again."
K. J. iii. 4. 78.
" I shall give | worse pay | ment." — T. N. iv. i. 21.
" He is, I Sir John : | I fear | we shall stay | too long."
I Hen. IV. iv. 2. 8?
* Globe, " this is."
344 SHAKESPEARIAN GRAMMAR.
With seems often to have been pronounced wV, and hence
combined with other words. We have ^^w'us," (B. and F.
P.lder Brother, v. i) for "with us," and "take me w'' ye" {id.) for
"with ye."
Beside the well-known "doff" " do-off," and "don" "do-on,"
we also find "dout" for "do-out" {Hamlet, iv. 7. 192); "probal"
for "probable" {Othello, ii. 3. 344).
WORDS CONTRACTED IN PRONUNCIATION.
462. Sometimes the spelling does not indicate the contracted
pronunciation. For instance, we spell nation as though it had three
syllables, but pronounce it as though it had two. In such cases it
is impossible to determine whether two syllables coalesce or are
rapidly pronounced together. But the metre indicates that one of
these two processes takes place.
Syllables ending in vowels are also frequently elided before vowels
in reading, though not in writing. Thus :
" Prosp, Against | what should | ensue. |
Mir. How came | we ashore ? "
Temp. i. 2. 158.
" You give I your wife | too unkind j a cause | of gi-ief,"
M. of V. V. I. 175.
"No (i)mped | iment | between, | but that | you must."
Coriol. ii. 3. 236.
" There was | a yield | ing ; this | admits [ no (e)xcuse."
lb. V. 6. 69.
Here even the Folio reads " excuse."
" It is I too hard | a knot ] for me | to untie."
T. N. ii. 2. 42.
The is often elided before a vowel, and therefore we may either
pronounce this is, this' (461), or write th^ for the, in
" O worthy Goth, this is the incarnate devil." — T. A. v. i. 40.
Remembering that "one" was pronounced without its present
initial sound oiw, we shall easily scan (though "the " is not elided
in many modem texts) —
" Th' one sweet | ly flatt | ers, //4'6th [ er fear [ eth harm."
R. of-L. 172.
" One half | of me ] is yours, | tK other \ half yours."
M. of V. iii. 2. 16.
WORDS CONTRACTED IN PRONUNCIATION. 345
"Ransom I ing him (217) | or pity | ing, threate | ning
///' other." — Coriol. i. 6. 36.
A.nd tliis explains
** And of I his old | exper(i) (467) | ence//z(^)6n | ly darling."
A. W. ii. I. 110.
" Has shook | and trem | bled at [ the ill neigh | bourhood."
Hen. V. i. 2. 164.
•* Where should | thisrau | sic be? | P the air ^ \ ox the earth?''
Temp. i. 2. 387, 389.
(Folio " i' th' air, or th' earth.")
463. R frequently softens or destroys a following
vowel (the vowel being nearly lost in the burr which follows the
eftbrt to pronounce the r).
" When the | aldrum \ were struck | than i | dly §it."
Cat. ii. 2. 80.
" Ham. Perchance I t'will walk | again.
Hor. I wdrrant \ it will. " — Hamlet^ i. 2. 3:
**r have I cast off | for ever; | thou shalt, | I wirraw/ thee. "
Lear, i. 4. 382.
*• I bet I ter brook | \kizxv fioi'irish \ ing peo | pled towns."
T. G. of V. V. 4. 3.
** Whiles I I in Ire | land n6urish* \ a might | y band."
2 Hen. VI iii. i. 348.
" Place bdrrels \ of pitch | up6n | the fat | al stake."
I Hen. VI. V. 4. 57.
'* 'Tis mdrk \ he stabb' | d you not."
B. J. E. out ^c. V. 4 ; Rich. HI i. 4. 64.
" A bdrren \ detest | ed vale j you see | it is."
T. A. ii. 3. 92 ; 2 Hen. VI. ii. 4. 3.
So "quarrel,'' Rich. Ill i. 4. 209.
This is very common with "spirit," which softens the following
?, or sometimes the preceding /', in either case becoming a mono-
syllable.
"And tlien, | they say, | no spirit \ dares stir | abroad."
Hamlet, i. i. 161.
So scan
" How now, I spirit, whither | wander ] you?" — M.N.D.'ii. I L
(" Whither" is a monosyllable. See 466.)
* Compare nourrice, nurse.
346 SHAKESPEARIAN GRAMMAR
This curtailment is expressed in the modern "sprite." So in
Lancashire, " brid " for " bird." Hence we can scan
*' In aid | whereof, | we of | the spirit \ ttalty^
Hen. V. i. 2. 132.
Instances might be multiplied.
464. R often softens a preceding unaccented voweL
This explains the apparent Alexandrine
" He thinks | me now | incap | able; | confed(e)rales."
Temp. i. 2. Ill, iv. i. 140.
465. Er, el, and le final dropped or softened, especially before
vowels and silent k. * The syllable er, as in letter, is easily inter-
changeable with re, as lettre. In O. E. **bettre" is found for
"better." Thus words frequently drop or soften -er ; and in like
manner -el and -le, especially before a vowel or h in the next word :
(i) •* Report I should rend j er him hour | ly to | your ear."
Cymb. iii. 4. 153.
** Into I a good | ly bulk. | Good time | encount^ her."
W. T.\\. I. 20.
** This lett I er he ear | ly bade | me gxvo^ \ his father."
R. and J. V. 3. 275.
** You'll be I good company, | my sist | er and you."
MiDDLETON, Witch, ii. 2.
** Than e'er | the mast | er of arts ] or giv | er of wit."
B. J. Poetast.
(2) " Trav<f/ you | far on, | or are | you at | the farthest?"
T. ofSh. iv. 2. 73.
(3) " That made | great Jove | to humb | le him to | her. hand."
lb. i. I. 174.
" Gent/iOTien | and friends, | I thank | you for | your pains."
lb. iii. 2. 186.
** I' am I a gent/^ | man of | a com | pany."
Hen. V iv. i. 39, 42.
"Needle," which in Gammer Gurton rhymes with "feele,"is
often pronounced as a monosyllable.
" Deep clerks she dumbs, and with her need/^ (Folio) composes. "
P. o/T. V. Gower, 5; Cymb. i. i. 168.
■* The same tendency is still more noticeable in E. E. See Essay on the
Melius of Chaucer, by the Rev. W. W. Skeat (Aldine Series).
WORDS CONTRACTED IN PRONUNCIATION. 347
** Or when she would with sharp need/^ (Folio) wound
The cambric which she made more sound
By hurting it"—/', of T. iv. Gower, 23.
In the latter passage " needle wound " is certainly harsh, though
Gower does bespeak allowance for his verse. Mr. A. J. Ellis
suggests '"Id" for "would," which removes the harshness.
** And grip | ing it | the need/^ | his fing | er pricks."
R.ofL.i\().
" Their needles | to Ian | ces, and ] their gent | le hearts."
IT. y. V. 2. 157.
"To thread \ the post | em of | a small | need/^j- eye."
Rich. IL V. 5. 17.
** Needle's " seems harsh, and it would be more pleasing to modem
ears to scan ** the post | em of a | small nee | die's eye." But this
verse in conjunction with F. of T. iv. Gower, 23, may indicate that
"needle" was pronounced as it was sometimes written, very much
like " neeld," and the dm** neeld " as in " vild " (vile) may have
been scarcely perceptible.
" A simple \ to the young | est, to | the more [ mature."
Cynib. i. i. 48.
" The comm | on pe6p/<f | by numb | ers swarm | to us."
3 Hen. VI. iv. 2. 2 ; T. A.\. \. 20.
And, even in the Sonnets :
" And troub/^r | deaf heav | en with | my boot | less cries,"
Sonn. 29.
" Unc/<f Mar J cus, since | it is | my fa | ther's mind."
T. A. v. 3. 1.
** Duke F. And get | you from | our court. |
Ros. Me, Mwde? \
Duke F. You, cousin ? "
A. Y. L. i. 3. 44.
466. Whether and ever are frequently written or pronounced
whe'r or where and e'er. The th is also softened in either,
hither, other, father, &c., and the v in having, evil, &c.
It is impossible to tell in many of these cases what degree of
** softening " takes place. In "other," for instance, the th is so
completely dropped that it has become our ordinary "or," which
we use without thought of contraction. So "whether" is often
written "wh'er" in Shakespeare. Some, but it is impossible to say
what, degree of " softening," though not expressed in writing,
seems to have affected th in the following words :—
348 SHAKESPEARIAN GRAMMAR
Brother.
** But for I our trust | y brSther \ -in-law, | the abbot."
Rich. II. V. 3. 137.
Either. , , ,
*^ Either led | or driv | en as | we point | the way."
y. C. iv. I. 23 ; Rich. Ill i. 2. 64, iv. 4. 82.
"Are hired | to bear | their staves; | either ihon, \ Macbeth."
Macbeth, v. 7. 18; M. N. D. ii. i. 32.
Further.
*• As if I thou never {nPer) \ wB.Yk.'dstfiirther \ than Fins | bury."
I Hen. IV. iii. I. 257.
Hither.
•"Tis he I that sent us ('s) | hithemovf \ toslaught [ erthee."
Rich. Ill i. 4. 250.
So the Quartos. The Folio, which I have usually followed in
other plays, differs greatly from the Quartos in Rich. III. Its
alterations generally tend to the removal of seeming difficulties.
Neither.
** Neither have I I mon | ey nor | commod | \tf."
M. of V. i. I. 178.
Rather.
** Rdther than | have made | that sav | age duke | thine heir,"
3 Hen. VI. i. i . 224. So Othello, iii. 4. 25 ; Rich. II. iv. i . 16.
Thither.
" Thither go ] these news | as fast | as horse | can carry 'em."
2 Hen. VI. i. 4. 78.
Whether.
*'Good sir, I say whether \ you'll ans ] wer me | or no."
C. of E. iv. I. 60.
Perhaps "Which he | deserves | to lose. | Whether he was
(h' was: 461) | combined." — Macbeth, i. 3. 111.
"But see, | whether Briit | us be | alive | or dead."
J. C. V. 4. 30 ; Rich. Ill iv. 2. 120.
"A heart | y welcome. | Whether \Sx6\x \ beest he | or no."
Tempest, v. i. 111.
Whither.
" What means I he now? I Go ask | him whither \ he goes."
I Hen. VL ii. 3. 28.
"■ Glouc. The king | is in | high rage. I
" Corn. Whitlier is | he going?" — Lear, ii. 4. 299,
So scan
** How now, I spirit ! whither \ wander | you?"
M. N. D. ii. I. 1.
■''^f^^^j^
WORDS CONTRACTED IN PRONUNCIATION^. 349
This perhaps explains :
"To find I the (462) other forth, | and b;^ | advent | iiring
both."— J/, of V. 1.1. 143.
But see 501.
Having.
**H6w could I he see | to do | them? Having \ made one."
M. of V. iii. 2. 124.
** Having lost | the fair | discov j ery of | her way."
V. and A. 828.
** Our gran I dam earth | having this | distemp | erature."
I Hen. IV. iii. I. 34.
So Rich. in. i. 2. 235; T. of A. v. i. 61 ; A. W. v. 3. 123;
Cymb. V. 3. 45.
In all of these verses it may seem difficult for modem readers to
understand how the v co-uld be dropped. But it presents no more
difficulty than the v in "ever," "over."
Evil.
It is also dropped in "evil" and "devil" (Scotch "de'il").
" The ez/ils | she hatch'd | were not | effect | ed, so."
Cymb. V. 5. 60.
" Of horr | id hell [ can come | a deznl | more damn'd."
Macbeth, iv. 3. 56.
" Ez/il-eyed | unto | you ; y' are (461) ] my prison [ er, but."
Cymb. i. i. 72.
So Rich. III. i. 2. 76. Of course, therefore, the following is not
an Alexandrine :
" Reproach [ and diss | olu | tion hang | eth ovox him."
Rich. II. ii. I. 258.
Similarly the d is dropped in " ma^am," which is often pro-
nounced "ma'am," a monosyllable.
The V is of course still dropped in hast for havest, has for haveth
or haves. In the Folio, has is often written hcHs, and an omission
in other verbs is similarly expressed, as "sit's" for "sitteth"
(AT: J. ii. I. 289).
467. I in the middle of a trisyllable, if unaccented, is
frequently dropped, or so nearly dropped as to make it a favourite
syllable in trisyllabic feet.
i\) "Tudi I cious piinish \ inent' 'Twas | this flesh | begot."
Lear, iii. 4. 76 ; M. for M. i. 3. £9
350 SHAKESPEARIAN GRAMMAR.
" Our rev | {e)rencl cdrdi \ nal carried. | Like it, I youT
giace."— i%?e. VIII. i. i. 100, 102, 105, &c.
"With whom | the Kent | ishmen | will will \ ingly rise."
3 Hen. VI i. 2. 41.
'* Which are | the mov ] ers of | a Idngtiish \ ing death."
Cymb. i. 5. 9.
**My thought | whose mur | der yet | is but \ fantastical."
Macbeth, i. 3. 139.
. ** That lov'd | your father: | the resi \ due of \ your fortune."
A. Y. L. ii. 7. 196.
" PrSmising \ to bring | it to | the Por | pentine."
C. ofE. V. I. 222.
So I Hen. VI iv. i. 166.
(2) Very frequently before ly :
" The mea | sure then | of one | is easi \ ly told."
I. I. I, V. 2. 190.
** His short | thick neck | cannot | be eds \ ily harmed."
V. and A. 627,
^^ Prettily \ methought | did play | the or | ator."
I Hen. VI iv. i. 175.
(3) And before ty :
** Such bold I hostili \ ty, teach | ing his('s) du | teous land."
I Hen. IV. iv. 3. 44.
" Of god- I like dmi \ ty, which | appears | most strongly."
M. of V. iii. 4. 3.
" A'riel | and all [ his qudli \ ty.
'' Prosp. Hast | thou, spirit ?"— 7>w/^j/, i. 2. 133.
"Of smooth I civlli | ty yet | am I in | land bred."
A. Y. L. ii. 7. 96.
Compare Butler, Hudibras, part ii. cant. 3. 945 :
"Which in | their dark \fatdl \ 'ties lurk | ing
At des I tin'd per | iods fall | a- work | ing."
This explains the apparent Alexandrines :
" Thou wilt I prove his. | Take him | to pri | son, Officer.'''
M.forM. iii. 2. 32.
" Some tricks | of des | perat \ ion, all | but vidriners."
Temp. i. I. 211.
• One dowle | that's in | my plume, | my fell | ow ministers. "
Temp. iii. 2. 65, v. i. 28 ; M.for M. iv. 5. 6 ; Macb. i. 5. 49.
" This is j the gent | leman | I told | your Iddyship."
T. G. if V ii. 4. 87.
WORDS CONTRACTED IN PRONUNCIATION. 351
" A virt I uous gent | lewom | an, mild | and bmiiii/ul."
T. G. of V. iv. 4. 184.
*' And te | d/ousness | the limbs 1 and out | v;z.rdjlchms/ies."
Hamlet, ii. 2. 91.
Sometimes these contractions are expressed in writing, as
*'par'lous," Rich, III. ii. 4. 35. This is always a colloquial form,
468. Any unaccented syllable of a polysyllable (whether
containing i or any other vowel) may sometimes be softened and
almost ignored. Thus —
a " Hold thee, | from this, | for ever. | The barb | arous
Scythian." — Lear, i. i. 118.
** Say by | this to | ken V \ desire | his company."
M. for M. iv. 3. 144.
ed "With them I they think | on. Things | without | all
rem«ly." — Macbeth, iii. 2. 11.
^^ Men. You must | return | and mend [ it.
Sen. There's | no rem«Jy."
Coriol. iii. 2. 26 ; T. N. iii. 4. 367.
em " All bro | ken impl^ | wents of | a ru | ined house."
T. of A. iv. 2. 16.
** Joi'n'd with | an enniiy | proclaim'd ; | and from | his coffers."
Hen. V. ii. 2. 168; M. for M. ii. 2. 180; Macb. iii. i. 105.
en *• The mess | ^«gers from | our si's | ter and | the king."
Lear, ii. 2. 54.
**'Tis done | alrea | dy, and | the mess | eng&c gone."
A. and C. iii. 6. 31 ; A. W. iii. 2. Ill,
Passenger is similarly used.
er "In our | last c6nf<?rence, | pass'd in | proba | tion with
yo\x." —Macbeth, iii. i. 80.
cs '* This Is I his maj | ^.rty, say | your mind | to him."
A. W. ii. I. 98.
**I that I am rude | ly stamped, ] and want | love's majVjty."
Rich. III. i. I. 16.
Majesty is a quasi-dissyllable in Rich. III. i. 3. 1, 19, ii. I. 75 ;
Rich. II. ii. I. 141, 147, iii. 2. 113, v. 2. 97, 3. 35; Macbeth,
iii. 4. 2, 121.
ess "Our pur | pose nee | fjj-ary and | not en | vious."
J. C. ii. I. 178.
s "Let us I be ^iorific \ ers and ] not but | chers, Caius."
lb. ii. I. 166
35^ SHAKESPEARIAN GRAMMAR.
o "The inn | ^cent milk | in it | most inn | t7cent mouth."
W. T. iii. 2. 101,
"There take | an in | vent^ry | of all | I have."
Hen. VIII. iii. 2. 452.
ua ** Go thou I to sanctz/a | ry [sanctu'ry or sanct'ry], and | good
thoughts I possess thee." — Rich. III. iv. I. 94.
"Shall fly I out of (457 a) | itself; | nor sleep | nox sanctuary. ^^
Coriol. i. lo. 19.
" Some read [ Alvar | ez' Helps | to Grace,
Some Sanctz/a | ry of | a troub | led soul."
Colvil's Whig Supplication, i. 1 1 86 (Walker).
« "When liv | ing light | should kiss | it ; 'tis | unnatz^ral."
Macbeth, ii. 4. 10; Hen. V. iv. 2. 13.
"Thoughts speci/ | lative | their lin | sure hopes ( relate."
Macbeth, v. 4. 19.
"And ne ] ver live | to show [ the incred// | lous world."
2 Hen. IV. iv. 5. 153.
■ "How you I were borne | in hand, | how cross'd, | the in-
stmments." — Macbeth, iii. I. 81, iv. 3. 239.
469. Hence polysyllabic names often receive but one
accent at the end of the line in pronunciation,
Proper names, not conveying, as other nouns do, the origin and
reason of their formation, are of course peculiarly liable to be
modified ; and this modification will generally shorten rather than
lengthen the name.
" To your | own con | science, sir, | before | Pollxe7tes."
W. T. iii. 2. 47.
" That ere | the sun | shone bright | on. O'f | Her??iione."
lb. v. I. 95.
" The rar | est of I all wo | men. Go, | Cle6??tenes.'"
lb. 112.
" To our I most fair | and prince | ly cous j in Katharine.''^
Hen. V. V. 2. 4.
" My broth | er and | thy un | cle, called ) Antojuo."
Temp. i. 2. 66.
"My lord | Bassan | io, since | you have found | Antonio.''^
M. of V. i. I. 59 : so often in this play.
" Then all | a-fire | with me \ ; the king's | son Ee^-dinanc/."
Temp. i. 2. 212.
" I rat I ify | this my | rich gift. | O Eerdinand." — 7/5. iv. 1.8.
* ' Then par | don me | my wrongs. | But h"Dw | should
PrSspero ?"—Ib. v. i. 119.
WORDS CONTRACTED IN PRONUNCIATION, 353
" I'll 4f I ter, more ] to be I revenged ] on E glamour.'''
T. G. of V. V. 2. 51.
" What it I contains. | I'f you [ shall see | Cordelia."
Lear, iii. i. 46.
" Upon I such sacr | ific | es, m^ | Cordelia.''
lb. V. 3. 20, 215.
So throughout the play.
"When thou j liest how | ling. What! | the fair | Ophelia.''
Hamlet, v. I. 265.
"At Gre | cian sword | contemn | ing. Tell | Valeria."
Coriol. i. 3. 46.
** Here, if | it like | your hon | our. See | that Cldudio."
M.for M. ii. i. 33, iii. i. 48.
*' So then ] you hope ] of par | don from | lord A'ngelo ?"
lb. iii. I. 1, iv. 3. 147, i. 4. 79.
** I see I my son | Antiph | olus | and Drdmio."
C. ofE. V. I. 196.
** The form ] of death. | Meantime ( I writ | to Romeo."
R. and y. V. 3. 246.
** Looks it I not like | the king? | Mark it, | Horatio."
Hamlet, i. I. 43.
*' They love | and dote [ on ; call | him bount | (e)ous Biick'
ingham."—Hen. VIII. ii. i. 52; Rich. Ill iv. 4. 508,
ii. 2. 123.
•' Vaux. The great | ness of | his per | son.
Buck. Nay, I Sir A^/W«j-."
Hen. VIII. ii. i. 100.
** But r I beseech | you, what's | become | of Katharine?"
lb. iv. I. 22.
" Saw'st thou I the mel | anchol | y Lord | Northutnber-
land?"— Rich. III. v. 3. 68.
"Therefore | present j to her, | as some | time Margaret.^'
lb. iv. 4. 274,
•* And you | our no | less 16 v | ing son | of Albany."
Lear, i. i. 43.
** Exasp I erates, | makes mad | her sis | ter Goneril."
lb. V. I. 60.
"* As fit I the brid | al. Beshrew | me much, | Emilia."
Othello, iii. 4. 150.
"** Is come I from Coe's | ar ; there | fore hear | it, A'nfony.."
A. and C. i. i. 27, i. 5. 21. &c.
" Than Cle 1 opatr | a, nor | the queen I of Ft6le77iv."
lb\. 4. 6.
A A
354
SHAKESPEARIAN GRAMMAR,
"■ With thera, | the two | brave beArs, | Warwick j and
M6ntague."—l Hen. VI. v. 7. 10
Less frequently in the middle of the line :
" My lord I of Buckingham, I if my | weak or | atory."
Rich. Ill iii. I. 37.
" Cousin I of Biick \ ingham and | you sage, | grave men."
lb. iii. 7. 217.
** Looking | for A'ntony. \ But all | the charms | of love."
A. and an 1. 20,
" Did slay | this Fortinbras ; \ who, by | a seal'd j compact
(490)." — Hamlet, i. I. 86.
" Thrift, thrift, | Horatio, \ the fu [ neral | bak'd meats."
lb. i. 2. 180.
'* He gave I to Alexander \ \ to Piolem \y\\i\ assigned."
lb. iii. 6. 16.
" Thou art | Hermione ; \ or rath | er, thou | art she."
W. T. V. 3. 25.
•• To soft I en A'ngelo, \ and that's | my pith | of business."
M. for M. i. 4. 70.
Enobd7-bus in A. and C. has but one accent, wherever it stands
in the verse :
" Bear hate | ful memo | ry, poor | Enobdr \ bus did."
A. and C. iv. 9. 9, &c.
"Of your I great pre | decessor, | King E! divard \ the Third."
He7i. V. i. 2. 248.
It may here be remarked that great licence is taken with the
metre wherever a list of names occurs :
" That Harry duke of Hereford, Rainold lord Cobham,
Sir Thomas Erpingham, Sir John Ramston,
Sir John Norbery, Sir Robert Waterton, and Francis Quoint."
Rich. IL ii. I. 279, 283, 284.
*' The spirits
Of valiant Shirley, Stafford, Blunt, are in my arms."
I Hen. IV. V. 4. 4l
** Whither away, Sir John Falstaffe, in such haste?"
I Hen. VI. iii, 2. 104.
" John duke of Norfolk, Walter Lord Ferrers."
Rich. in. V. 5. 13.
*» Lord Cromwell of Wingfield, Lord Furnival of Sheffield, "
lb. iv, 7. 166.
♦* Sir Gilbert Talbot, Sir William Stanley. "—/<5. iv. 5. 10.
WORDS CONTRACTED IN PRONUNCIATION. 355
In the last examples, and in some others, the ])ause between two
names seems to license either the insertion or omission of a syllable.
470. Words in which a light vowel is preceded by a
heavy vowel or diphthong are frequently contracted, as power,
jewel., lower., doing, going, dying, playing, prowess, &c.
"The which | no soon | er had | his prow^jj | confirm'd."
Macbeth, v. 8. 41.
Com p. " And he that routs most pigs and cows,
The form | idab | lest man | of prow^jj."
Hudib. iii. 3. 357.
Perhaps
" Which both | thy du | ty owes | and our | power claims."
A. W. ii. 3. 168.
(This supposes "our" emphasized by antithesis, but "and our
pow j er claims" (Ei.lis) may be the correct scanning.)
Being. — "That with | his per | emptor | y "shall" | being ^\iX"
Coriol. iii. I. 94, 2. 81.
" The sov I ereignty | of ei | ther being \ so great."
R. o/L. 69.
This explains the apparent Alexandrines :
" And bei7ig \ but a toy | that is | no grief | to give."
Ri^h. Ill ii. I. 114.
" Without I a parall | el, these | being i\\ \ my study."
Tempest, i. 2. 74.
Doing. — "Can lay | to bed | forever: | whiles you, I doijtgthu^J^
lb. ii. I. 284.
Seeing. — " Or seeing | it of | such child | ish friend | liness."
Coriol. ii. 3. 183.
" I'll in I myself | to see, | and in thee | seeing ill."
Rick. II ii. I. 94.
" That you | at such | times seeing | me ne | ver shall."
Hamlet, i. 5. 173 .
'ying. — " And prdph \ esying \ with ac | cents ter | rible."
Macbeth, ii. 3 62.
This may explain
" Lock'd in | her m6n(u) [468] | ment. She'd | z.pr<^ph{e)- \
syifzg {ear." — A. and C. iv. 14. 120.
So with other participles, as
"They, kndwing \ dame El | eanor's | aspir | ing humour.'
2 Hen. VI 1. 2. 97.
A A 2
356 SHAKESPEARIAN GRAMMAR.
The rhythm seems to demand that " coward " should be a quasi'
monosyllable in
** Wrong right, | base noble, | old young, | coward vdl I 'ant."
T. A. iv. i'. 29.
"Noble" a monosyllable. (See 465.)
" Yet are | they pass | ing cdwardly. \ But I' | beseech you."
Ccriol. i. I, 207.
471. The plural and possessive cases of nouns in which
the singular ends in s, se, ss, ce, and ge, are frequently
written, and still more frequently pronounced, without the additional
syllable :
" A's the I dead car \ casses of | unbur | ied men."
Coriol. iii. 3. 122.
" Thinking | upon | his sir \ vices took | from you."
lb. ii. 2. 231.
*' Their sense \ are [Fol. sic] shut." — Macbeth, v. i. 29.
"My sense \ are stopped." — Sonn. 112.
"These verse" — Daniel.
"I'll to I him; he | is hid | at Ldivr \ ettce^ cell."
R. and J. iii. 2. 141.
" Great kings of France and England ! That I have laboured,
Your might \ iness \ on both | parts best | can witness."
Hen. V. V. 2. 28.
*' Place" is probably used fo-r "places" in
" The fresh | springs, brine- | pits, bar | ren place j and
fertile."— Ti-w/^j/, i. 2. 338.
" These two | Antiph \ ohis [Folio], | these two | so like.''
C. of E. V. I. 357.
"Are there balance?"— M. of V. iv. i. 255.
" (Here) have I, thy schoolmaster, made thee more profit
Than 6th | er prin \ cess [Folio] can | that have j more
time."— 7l7;z/. i. 2. 173.
" Sits on his horse back at mine hostess door."
/vT. y. ii. I. 289 (Folic).
" Looked pale | when they | did hear | of Cldr \ ence (Folio)
^Qz.ih."— Rich. III. ii. I. 137, iii. i. 144.
Probably the s is not sounded {horse is the old phiral) in
" And Duncan's horses (a thing most strange and certain)."
Macbeth, ii. 4. 14.
*• Lies in \\v€\x pwses, and whojo empties them."
Rich. II. ii. 2. 130.
WORDS CONTRACTED IN PRONUNCIATION. 357
Even after ge the s was often suppressed, even where printed.
Thus :
"How many ways shall Carthage's glory grow !"
Surrey's ^«^/^/F. (Walker).
But often the s was not written. So
** In violating marriage sacred law."
Edward III. (1597 a.d.) (Lamb.)
The s is perhaps not pronounced in
"Conject I {n)ralmdrr | iage{s); mak | ingpart ] ies strong."
Coriol. i. I. 198.
" Are bra I zen {m I ages of | canon (491) | iz'd saints."
2 I^en. VL i. 3. 63.
•' The wi I ages of | revolt | and fly | ing off!"
Lear, ii. 4. 91.
" O'ff with I his son | George's \ve2id."—Rich. III. v. 3. 344.
" Letters | should not | be known, | riches pov | erty."
Tempest f ii. i. 150.
This may perhaps explain the apparent Alexandrines :
•' I prom I is'd you [ redress | of these | same grievances."
2 Hen. IV. iv. 2. 113.
•' This dei | ty in | my bos | om twen | ty consciences."
Temp. ii. i. 278.
"And straight | disclaim | their tongues ? | What are | your
6ffi£esr—Coriol. iii. I. 35.
" Popil I ius Le I na speaks I not of | our pilr \ poses."
J. C. iii. I. 23.
" She lev | ell'd at | our piir \ poses, and | being (470) royal,"
A. and C. v. 2. 339.
(or " I our purpose{s\ \ and be | ing royal.")
"A thing I most brii | tish, I' | endowed | Xhy piirposes."
Tempest, i. 2. 357.
" Nor when | ^e ptirposes \ return'. [ Beseech | your highness."
Cymb. iv. 3. 15.
" As blanks, | benSvo \ lences and | I wot | not what."
Rich. II. ii. I. 250.
" My serv \ ices which_ Ll have ('ve) done 1 the Sign \ io.rjr-"
Othello, i. 2. 18.
** These pipes | and these | convey \ ances of \ our blood."
Coriol. v. I. 54.
*' Professes \ to persuade | the icing | his son's | alive,"
Tctnp. ii. I. 236.
358 SHAKESPEARIAN GRAMMAR.
Either " whom I " is a detached foot (499) or s is mute in
'* Whom I', I with this | obed | ient steel, | three inchw- of it
(inch of \):'— Tempest, ii. i. 285.
472, Ed following d or t is often not written (this
elision is very old : see 341, 342), and, when written,
often not pronounced.
" I had I not quot^^ him. [ I fear'd | he did | but trifle."
Hamlet, ii. i. 112.
" Reg. That tend^^ (Globe, 'tend') | upon | my father.
Glou. I know I not, madam." — Lear, ii. I. 97.
" Since not | to be ] avoid^^ | it falls ] on me."
I Hen. IV. V. .5. 13.
'* But just I ly as I you have | exceed^^/ | all promise."
A. V. L. i. 2. 156.
** For treas I on hie I cut^^ In ! our late | Icing's days."
I Hen. VI ii. 4. 91.
" And so, I x'\y&\.ed I with faith | unto (457) | your flesh."
AI. of V. V. I. 169.
" Be soon I collect I ed and all | things tliought | upon."
Hen. V. i. 2. 305.
** I's to I be fn'ghtf^ | out of fear : 1 and in | that mood."
A. and C. iii. 13. 196.
" Was apt I ly i'\\.ted I and nat | (u)rally | perform'd."
r. ofS/i. Ind. I. 87.
** Is now I convert^^: I but now | I was | the lord."
M. of V. iii. 2. 169.
" Which r I mistrust<?^ 1 not: fare | well there | fore, Hero."
M. Ado, ii. I. 189.
" All un I avoid^^ \ is the doom ] of dest | iny."
Rich. Ill iv.,4. 217.
but here "destiny" (467) may be a dissyllable, and -ed sonant.
This explains the apparent Alexandrine :
" I thus I neglect | ing world | ly ends ] all dedicated."
Temp. i. 2. 89.
** Shouting 1 their em | ula | tion. What | is^r(7«to/ them?"
Coriol. i. I. 218..
So strong was the dislike to pronouncing two dental syllables
together, that " it " seems nearly or quite lost after ' ' set " and
" let " in the following :
** I humb I ly sit ii \ at your will ; | but for | my mistress.'
Cymb. iv. 3. 13.
VARIABLE SYLLABLES. 359
** To his i exper | ienced tongue ; [ yet let it \ please both."
Tr. and Cr. i. 3. 68.
" You are a | young hunt | sman, Mar | cus : let it alone."
T. A. iv. 2. 101.
" You see j is kill'd | in him : | and j// // | is danger."
Lear, iv. 7. 79.
So perhaps *' Of ex | cellent | dissemb | ling ; and | let it look."
A. and C. i. 3. 79.
But more probably, ** dissembling; [ and let | it look."
473. Est in superlatives is often pronounced st after
dentals and liquids. A similar euphonic contraction with respect
to est in verbs is found in E. E. Thus " bindest " becomes " binst,"
" eatest " becomes "est." Our "best "is a contraction for **bet-est."
"Two of I the sweet' J-/ | compan | ions in | the world."
Cymb. V. 5. 349.
" At your | kindest leisure." — Macbeth, ii. i. 24.
" The sternest \ good night." — lb. ii. 2. 4.
" Secret' st:'— lb. iii. 4. 126.
" This is I thy Mst \ son's son."— A". J. ii. i. 177.
So Temp. v. i. 186.
" Since death | of my [ dearest moth | er." — Cymb. iv. 2. 190.
" The ISy \ aVst hus | band that | did e'er | plight troth."
lb. i. I. 96.
A. W. ii. I. 163, ''great' St." " The sweet' st, dea7^st."—W. T.
iii. 2. 202. " Nearest."— Macb. iii. i. 118. " Unpleasant' st."—
M. of V. iii. 2. 254. ' ' Strong' st. "—Rich. IL iii. 3. 201. " Shorfst. "
—lb, v. I. 80. ''Common St."— lb. v. 3. 17. "Faithfull'st."—
T. N. v. I. 117.
This lasted past the Elizabethan period.
" Know there are rhymes which fresh and fresh apply'd
Will cure the arrant' st puppy of his pride."
Pope, Imit. Hor. Epist. i. 60.
The Folio reads " stroakst," and "made" in
" Thou strSakedst \ me and | madest much | of me, | would' si
give me." — lempest, i. 2. 333.
But the accent on "and " is harsh. Perhaps "and ma | dest."
VARIABLE SYLLABLES.
474. Ed final is often mute and sonant in the same
line. Just as one superlative inflection -^if does duty for two closely
connected adjectives (398) :
360 SHAKESPEARIAN GRAMMAR.
" The generous and gravest citizens," — M. for M. iv. 6. 13,
and the adverbial inflection ly does duty for two adverbs (397) :
" And she will speak most bitter/j'and strange."
M.forM. V. I. 36.
so, when two participles ending in -ed are closely connected by
" and," the ed in one is often omitted in pronunciation,
'' Despls'd, \ distress \ ed, hat | ed, mart | yr'd, killed,"
R. and J. iv. 5. 59.
"We have with | a Uav \ erUd and | prepdr \ ed choice."
M.forM. i. I, 52.
**To this I unlSoJ^d \ for, tin \ prepdr \ (faTpomp."
K. y. ii. I. 560.
In the following the -ed sonant precedes :
** That were ] embdtt \ ailed \ and ranked \ in Kent."
K. y. iv. 2. 200.
"We are | imprhs j ed dnd \ engd^d \ to fight."
I Hen. IV. i, I. 21.
"For this ( they have | engrdss \ ed and | pii'd up."
2 Heji. IV. iv. 5. 71.
"Thou chdng \ ed and | self-cSv \ er'd thing, | for shame,"
lear, iv. 2. 62.
At the end of a line ed is often sounded after er :
" Which his | hell-gov | ern'd arm | hath btitc \ here(^"
Rich. Ill ^ 2. 74.
See y C. ii. i. 208 ; iii. i. 17 ; iii, 2. 7, 10 ; iv. i. 47; v. i. 1.
So Rich. Ill iii. 7. 136 ; iv. 3. 17 ; v, 3, 292 ; M. N. D. iii. 2. 18,
&c. This perhaps arises in part from the fact that " er " final in
itself* (478) has a lengthened zoyxrvdi approaching to a dissyllable.
Ed is very frequently pronounced in the participles of word.s
ending inj^^, "glorij^," &c.
"Most put I rifi \ ed core, | so fair | without."
Tr. and Cr. v. 9. 1.
"My mort \ ifi \ ed spirit, | Now bid | me run."
y C. ii. I. 32i.
"Vaughan | and all | that have | miscdrr \ ied.''''
Rich. Ill v. I. 5.
"The French | and E'ng | lish there | miscdr \ riid.'*
M. of V. ii. 8. 29.
"That came | too lag [ to see | him M \ ried." — lb. ii. i. 90.
So frequently in other Elizabethan authors. Also when preceded
by r«, rm^ "■ iMrned," " confirmed,'' Scc^ and in "fcllowed:"
VARfABLE SYLLABLES, 361
" As they [ us to j our trench | q%/611 \ owed. "
Coriol. i. 4. 42.
On the other hand, -ed is mute in
** By what | by-oaths | and in I direct | crook' d vf'iy^."
2 Hen. IV. iv. 5. 185.
In ** Warder. We do | no 6th | erwise | than we | are wilVd.
Glou. Who will I ed you ? | Or whose | will stands \
but mine,"— I Hen. VI. i. 3. 11.
It would seem that the latter "willed" is the more emphatic of the
two, and it will probably be found that in many cases where two
participles are connected, the more emphatic has ed sonant. Thus
the former "banished" is the more emphatic of the two in
"Hence bdn \ ished \ is banish! d from | the world."
R. and J. iii. 3. 19.
475. A word repeated twice in a verse often receives
two accents the first time, and one accent the second,
when it is less emphatic the second time than the first.
Or the word may occupy the whole of a foot the first
time, and only part of a foot the second. Thus in
^^ Fare (480) | well, gen | tie mi's | tress : fare \ well, Nan."
M. W. of W. iii. 4. 97.
"/izV^(48o) I well, gen | tie cous | in. Coz, \ farewell."
K. J. iii. 3. 17.
"Of great | est just | ice. Wrl \ te{i,%/^\ write, \ Rinaldo."
A. W. iii. 4. 29.
"These vi \ olent \ desires | have vio \ lent ends."
R. and J. \\. 6. 9,
"With her ] that hdt \ eth thee | and hates \ us all."
2 Hen. VI, ii. 4. 62.
Here the emphasis is on "ends" and "us all."
" Duke. Still (486) I so cru I el ?
Oliv. Still I so con ] stant, lord."—?: N. v. I. 113.
" Com. Know (484), ] I pray | you.
Coriol. I' I '11 know \ no further." — Coriol. iii. 3. 87.
'^ Deso I late, des \ olate, will j I hence | and die."
Rich. II. i. 2. 73.
The former " Antony" is the more emphatic in
"But were | I Brutus
And Bni | tus An \ tony, [ there were | an A'ntony."
7. C. iii. 2. 231.
7,62. SHAKESPEARIAN GRAMMAR.
So, perhaps, the more emphatic verb has the longer form in
"He rous 1 eth up | himself | and mak^j | a pause."
R. o/L. 541.
This is often the case with diphthongic monosyllables. See 4S4.
Compare
" Now I it schey | neth, nSw | it reyn | eth faste."
Chaucer, C. T. 1537.
476. On the other hand, when the word increases in
emphasis, the converse takes place.
"And let | thy blows, | doubly \ redSub \ (e)led."
" Vii'g. O, hiavens, \ O, heav \ ens.
Coriol- Nay, 1 I pri | thee, woman."
Coriol. iv. I. 12.
"Was it I his spirit \ by splr \ its taught | to write?"
Sonn. 86.
"And with | hex pirson \ age, her | tall per \ sondge."
M. N. D. iii. 2. 292.
^' Mdrcius \ would have | all from | you — Aldr \ citis,
Whom late | you have named | for consul."
Coriol. iii. I. '195
Even at the end of the verse Marcius has but one accent, as a rule.
But here it is unusually emphasized.
"And whe'r \ he nin | or fly | they know | not whether."
V. and A. 304.
'^ King. Be pat \ lent, gent | le queen, | and I' | will slay.
Queen. Who can I be pat I imt I in these | extremes."
3 Hen. VI. i. I. 215-6.
" Yield, my lord I protect I or,_j// I eld, Winch | ester."
I Hen. VI iii. I. 112.
" Citizens. Yield, Mar [ cius, yi \ eld.
Men. He \ ar {480) me, | one word."
Coriol. iii. i. 215.
" A divil (466), I a bor I n (485) de \ vil, in | whose nature."
Tempest, iv. I. 188.
So arrange "You heavens (512), |
Give me | that pat \ ience, pdt \ ience \ I need." _
lear, ii. 4. 274.
("Patient" was treated as a trisyllable by the orthoepists of the
time. )
LENGTHENING OF WORDS. 363
" Being had, | to tri | umph be \ ing (on the other hand)
lack'd, I to hope." — Sonn. 52.
Similarly "Which art | my near'st \ and diar | ^/ en | em^."
I Hen. IV. iii. 2. 123.
On the other hand, perhaps, "sire," and not "cowards," is a
dissyllable in
"Cowards fa ( ther cowards, | and base | things si \ re base."
Cyvib. iv. 2, 26.
So, perhaps, "Panting | he \\es \ and breath | ethm \ her face."
V. afid A. 62.
Here "lies" is unemphatic, "breatheth" emphatic.
For diphthongic monosyllables see 484.
The same variation is found in modern poetry. In the following
line there is, as it were, an antithetical proportion in which the two
middle terms are emphatic, while the extremes are unemphatic :
" TozuerhQ \ yond tSw \ er^ spi | r^ be | yond spire.'" — Tennyson.
LENGTHENING OF WORDS.
477. R, and liquids in dissyllables, are frequently pro-
nounced as though an extra vowel were introduced between them
and the preceding consonant :
"The parts | and gra | ces of | the wres | t(^)ler."
A. Y. L. ii. 2. 13
"In sec 1 ond ace | ent of | his ord | (/)nance."
Hen. V. ii. 4. 126.
The Folio inserts i here, and e, lb. iii. Prologue, 26. In the
latter passage the word is a dissyllable.
"If you I will tar | ry, ho [ ly pilg | (^)rim." — A. W. iii. 5.43.
" While she | did call | me ras [ cal fid | d(^)ler."
T. ofSh. ii. I. 158.
"The life | of him. | Know'st thou | this coun | t(^)r^?"
T. N. i. 2. 21. So Coriol. i. 9. 17 ; 2 Hen. VI. i. i. 206
" And these | two Drom | ios, one | in semb | (<?)lance."
C. ofE. V. I. 358 ; T. G. of V. i. 3. 84.
"You, the I great toe | of this | assemb | l(^)y."
Coriol. i, I. loS
" Cor. Be thus | to them, ]
Pair. You do | the no | \>{e)\ix.'"—Ib. iii. 2. 6.
" Edm. Sir, you | speak no | b(^}ly. |
Reg. Why is | this reason'd?'* — Lear, \. i. 9ji
364 SHAKESPEARIAN GRAMMAR.
(?) " Go search | like no | b{^Ues, | like no f ble subjects."
P. of T. ii. 4. 50.
The e is actually inserted in the Folio of Titus Andronicus in
"brethren:"
"Give Mu I cius bur I ial with | his breth | ^en."
T. A. i. I. 347.
And this is by derivation the correct form, as also is " child(?ren."
"These are | the par | ents of | these chil | d(^)ren."
C.o/E.y. I. 360.
"I go. I Write to I me ver | y short [ (^)ly."
Rich. III. iv. 4. 428.
"A rot I ten case I abides | no hand | (<?)ling."
2 Hen. IV. iv. I. 161.
"The friends | of France | our shrouds | and tack | (^)lings."
I Hen. VI. V. 4. 18.
"Than B61 | ingbroke's | return | to E'ng | (^)land."
Rich. II iv. I. 17.
"And mean | to make | her queen | of E'ng | {^)land."
Rich. III. iv. 4. 263.
So in E. E. "Eng^land."
" To be I in an I ger is | impi |.et:f ;
But who I is man | that is | not an | g(<?)rf?"
T. of A. iii. 5. 56.
in which last passage the rhyme indicates that angry must be pro-
nounced as a trisyllable.
"And strength | by limp | ing sway | disa | b(^)led." — Sonn. 66.
So also in the middle of lines —
"Is Cade I the son | of Hen ] (^)ry | the Fifth?"
2 Hett. VI. iv. 8. 36.
This is common in Hen. VI., but not I think in the other plays —
not for instance in Rich. II.
"That croaks [ the fa [ tal en | t{<?)rauce | of Duncan."
Macbeth, i. 5. 40.
"Carries | no fd | vour in't | but Bert | (^)ram's."
A. m i. I. 94.
" O me ! I you jiigg | (<?)ler ! | you can | ker blossom."
M. N. D. iii. 2. 2S2.
"'Tis monst [ (<?)r6us. | la | go, who | began it?"
Othello, ii. 3. 217.
** And thdt I hath dazz 1 (^)lcd I my rea ] son's light. "
^ T. G. ofV. ii. 4- 210.
m
LEISrGTHENiNG OF WORDS. 365
"Being | so friis | t(^)rate. | Tell him | he mocks,"
A. and C. v, i. 2.
•* Lord Doug | (<?)las, | go you | and tell | him so."
I Hen. IV. V. 2. 33.
'* Grace and | remem | b(f)rance | be to | you both."
W. T. iv. 4. 76.
"Of quick I cross light | (^)ning? | To watch, | poor perdu."
Lear, iv. 7. 35
"Thou kill'st I thy mist | {^)ress : | but well | and free."
A. and C. ii. 5. 27.
"To taunt | at slack | (^)ness. | Canid | ius we."
lb. iii. 7. 28.
So also probably "sec(<?)ret," "monst(^)rous" {Macbeth, iii. 6. 8),
"nob(^)ly," "wi.t(^)ness," T. G.o/V.'xv. 2. 110, and even"cap(/)tains"
(French " capitaine :" Macbelh, i. 2. 34, 3 Hen. VI. iv. 7. SO, and
perhaps Othello, i. 2. 53) .
Spenser inserts the e in some of these words, as "hand^ling,"
F. Q. i. 8. 28; "ent^rance," ib. 34.
478. Er final seems to have been sometimes pronounced with a
,kind of " burr," which produced the effect of an additional syllable ;
just as "Sirrah" is another and more vehement form of "Sir."
Perhaps this may explain the following lines, some of which may be
explained by 505-10, but not all :
" Corn. We'll teach | you
ICent. Sir, \ I'm | too old | to learn.
Lear, ii. 2. 135.
(But? "I' am.")
" Lends the | tongue vows ; I these bid \ zes daugh | ter.''
Hamlet, i. 3. 117
"And there | upon, | give me | your ddugh \ ter."
Hen. V. V. 2. 4 75.
'* Bru. Spread fur | ther. \
Menen. One wo | rd (485) more, | one word.'
Coriol. iii. I. 311.
"Like a | ripe sis | ter : \ the wom | an low."
A. Y. L. iv. 3. 88.
"Of our I dear souls. | Meantime, | sweet sis | //r."
T. N.\. I. 393.
"I pray | you, uncle (465), | ^\^ me | this dag | gcr.''
Rich. III. iii. i. .t]0.
" A broth I er's mur | der. \ Pray can | I not. "
Hamlet, iii. 3. 38.
366 SHAKESPEARIAN GRAMMAR.
"Frighted | each 6th | er. \ Why should I he follow?"
A. and C. iii. 13. 6.
' ' And so I to arms, | victor | ious fa | ther. "
2 I/en. VI. V. I. 211.
"To cease. [ Wast thou | ordain'd, | dear fa | ther?''
lb. V. 2. 45.
" Corn. Where hast | thou sent | the king? |
Glojic. To D6 I ver." — Lear, iii. 7. 51.
"Will r I first work. | He's for [ his mas | t(h'." — Cyinb. i. 5. 28.
" Lear. Than the | sea-mons | ter, \
Alb. Pray, sir, | be patient." — Lear, i. 4. 283.
But perhaps " patient " may have two accents. In that case " ter "
is a pause-extra syllable.
In the two following lines s follows the r :
"To speak | of hor | r(^rs, \ he comes | before me."
Hamlet, ii. I. 84.
" Publius, I how now ? | How now, | my mas | ters F"
T. A. iv. 3. 35; and perhaps Macbeth., iii. 4. 133.
"And ^\^ I him half: j and for | thy vi'g | our.'"
Tr. af.d Cr. ii. 2. 272.
" Tell me, | how fares | our lov | ing moth | er?'^
Rich. Ill v. 3. 82.
" Cass. Good night, | my lord. |
Brut. Good night, ( good broth j /r."
y. C. iv. 3. 237.
"He whom | my fath | er named? | Your E'd | gar."
Lear, ii. I. 94.
{? "«a(484) I med? Yoii \ r (480) E'dgar.")
" I'll fol I low you I and tell | what an | sw^r."
3 Hen. VI. iv. 3. 55.
" I have six | ty sail : | Cae'sar | none bet | ter."
A. and C. iii. 7. 50
"This wood I en sla | very, than | to suff | er.''
Temp. iii. I. 62.
Sometimes this natural burr on r influences the spelling. In
Genesis and Exodus (Early English Text Society, Ed. Morris) we
have "coren" for "corn," "boren" for "bom." Thus the E. E.
"thurh" is spelt "thorugh" by early writers, and hence even by
Shakespeare in
"The false | revolt | ing Nor | mans thS \ rou^h thee."
2 Hen. VI. iv. i, S7,
Soi!/. A'; D. il I. 3, 5; Coriol v. 3. 115.
LENGTHENING OF WORDS. 2>^j
In the following difficult lines it may be that r introduces an
extra syllable :
" I'gnomy | in ran | som and | free pd \ rdSn
A' re of I two hou j ses, law \ fvil mi \ rcy."
M. for M. ii. 4. Ill, 112.
It would of course save trouble to read ** ignominy," against the
Folio. But compare
" Thy ig I nomy (Fol.) | sleep with | thee in | thy grave."
I Hen. IV. V. 4. 100
** Hence, brok | er lack [ ey ! I'g \ nomy \ and shame."
Tr. and Cr. v. 10. 33.
and in T. A. iv. 2. 115 (where the Folio reads "ignominy") the i
is sluired,
"No man | knows whither. | I cr^ | thee me\ rcy."
Rich. Ill iv. 4. 615.
"It is I my son, | young Har | ry Pe\ rcy.^'
Rich. II. ii. 3. 21.
"Thou, Rich | ard, shalt | to the duke | of N6r \f6lk.''
3 Hen. VI. i. 2. 38.
So we sometimes find the old comparative " near " for the modern
" nearer."
"Better | far off | than near | be ne'er | the niar."
Rich. II v. I. 88.
"The near \ in blood |
The near | er h\6ody."— Macbeth, ii. 3. 146.
"Nor near x\ox farther o^ . . . than this weak arm."
Rich. II. iii, 2. 64.
And "far" for "farther," the old "ferror."
''Far than \ Deuca | lion 6^.''—W. T. iv. 4. 442.
479. The termination '* ion " is frequently pronounced as twc
syllables at the end of a line. The i is al.^ sometimes pronounced
as a distinct syllable in soldiei', courtier, marriage, conscience, partial,
&c. ; less frequently the e in surgeon, vengeance, pageant, creature,
pleasure, and treasure.
The cases in which ion is pronounced in the middle of a line are
rare. I have only been able to collect the following :
"With 6b I serva | tion \ the which | he vents."
A. Y. L. ii. 7. 41
363 SHAKESPEARIAN GRAMMAR.
"Of Ham I let's trans | forma | tiSn: \ so call it."
Hamlet, ii. 2. 5.
"Be chosen j with pro | clama | tions \ to-day."
T. A. i. I. 190.
Gill, 1621, always writes **ti-on" as two syllables. But there is
some danger in taking the books of orthoepists as criteria of popular
pronunciation. They are too apt to set down, not what is, but
what ought to be. The Shakespearian usage will perhaps be
found a better guide.
TiSn, when preceded by c, is more frequently prolonged, perhaps
because the c more readily attracts the t to itself, and leaves ion
uninfluenced by the /.
"It were | an hon ( est act [ ion \ to say so."
Othello, ii. 3. 145 ; Tr. and Cr. i. 3. 340.
" Her sweet | perfect | ions \ with one | self king."
T. N.\. I. 39.
"Yet have | I fierce | affect | iSns \ and think."
A. and C. i. 5. 17.
" With sore | distract | iSn \ what I' | have done."
Hamlet, v. 2. 241,
"To lis I in our | elect | iSn \ this day."— 7: A.'\. i. 235.
Tn " That shall | make ans | wer to | such quest | iSns.
It is enough. | I'll think | upon | the quest | iSns,^*
2 Hen. VI. i. 2. 80, 82.
it seems unlikely that "questions" is to be differently scanned in
two lines so close together. And possibly, " it is (it's) enough," is
one foot. Still, if " questions" in the second verse be regarded as
an unemphatic (475) repetition, it might be scanned :
"It IS I enough. | I'll think | upon | the questions."
The Globe has
" Join'd in | commlss \ ion with him ; | but either (466) [
Had borne || the action of yourself, or else
To him II had left it solely." — Coriol. iv. 6. 14.
But better arrange as marked above, avoiding the necessity of laying
two accents on " commission." So Folio — which, however, is not of
much weight as regards arrangement.
/ is pronounced in "business" in
"To see | this biis \ iness. \ To-mor | row next."
Rich. II il I. 217; Rich. Ill ii. 2. 144; M. of V. iv.
I. 127 ; Coriol. v. 3. 4.
LENGTHENING OF WORDS. 369
*'Divfn I est cri\ attire, | Astr^e' j a's daughter."
I Bett. VI. i. 6. 4,
So probably
" Than these | two cr^ j attires. \ Which is | Sebastian ? "
T. N. V. I. 231.
" But he's I a tried | and val | iant s6ld \ iSr.^—J, C. iv. i. 28.
" Your sis I ter is | the bet | ter s6l \ dier.'" — Lear^ iv. 5. 3.
"Making | them worn | en of | good cdrr \ idge."
R. and J. i. 4. 94.
" Mdrri \ age is | a mat j ter of | more wor | th."
I Hen. VI. V. 5. 55, v. i. 21.
"To woo I a maid | in way | of mdrr \ idge.'"
M. of V. ii. 9. 13.
" While V I thy dm \ id \ ble cheeks [ do coy."
M. N. D. iv. I. 2.
"Young, vdl I idiit, \ wise, and, [ no doubt, ( right royal."
Rich. III. i. I. 245; Tempest, iii. 2. 27.
" With th' dn \ ciint \ of war | on our | proceedings."
Leary v. i. 32.
"You have done | our ple\ asiircs \ much grace, | fail
ladies."—?: of A. i. 2. 151.
So " Take her | and use |'her at [ your/// j astirc."
B. and F. (Walker).
" We'll leave | and think | it is | hex pie \ astire.''—Ib.
" But 'tis I my lord | th' Assist | ant's/// | astire.^' — lb.
" He dare | not see | you. A't | his/// j asdre.^^ — lb.
"You shall I have ransom. | Let me | have stir \ gedtts.'''
Lear, iv. 6. 196.
" If on 1 ly to go I ' (484) wann | vf&cQ gSrg | e^us.''
lb. ii. 4. 271.
"Your mind | is toss | ing on | the 6 \ cedn."
M. oj V. i. I. 8 ; Hen. V. iii. i. 14.
"The new | est state. | This is | the sSr \ gednt."
Macbeth, i. 2. 3.
Similarly " But they | did say | their pray \ ers and | address'd
them."— 73. ii. 2. 25; Coriol. v. 3. 105,
"Hath turn'd | my feign | ed prdy | ^r on [ my head."
Rich. in. v. I. 21, ii. 2. 14,
Even where "prayer" presents the appearance of a monosyllabic,
the second syllable was probably slightly sounded.
For / and e sonant in " -ied," .see 474.
370 SHAKESPEARIAN GRAMMAR.
479 a. Monosyllabic feet in Chaucer. Mr. Skeaf(Essay on
Metres of Chaucer, Aldine Edition, 1866) has shown that Chaucei
often uses a monosyllabic foot, but the instances that have been
pointed out are restricted to the first foot.
''May, I with all thyn floures and thy greene."— C. T. 1612.
" Til 1 that deeth departe schal us twayne." — lb. 1137.
" llier I by aventure this Palamon. "— //^. 1518.
*' Ncno I it schyneth, now it reyneth fast." — lb. 1537.
" ^/ I by-smoterud with his haburgeon." — lb. 77.
It will be shown in paragraphs 480-6 that Shakespeare uses this
licence more freely, but not without the restrictions of certain natural
laws.
480. Fear, dear, fire, hour, your, four, and other mono-
syllables ending in r or re, preceded by a long vowel or
diphthong, are frequently pronounced as dissyllables. Thus
"fire" was often spelt and is still vulgarly pronounced **fier." So
"fare" seems to have been pronounced "fa-er;" "ere," "e-erj"
"there," "the-er,"&c.
It is often emphasis, and the absence of emphasis, that cause this
licence of prolongation to be adopted and rejected in the same line :
Fair. — " Eerd. Or night | kept chain'd \ below. |
Prosp. Fair \ ly spoke."
Tempest, iv. I. 31.
(or perhaps {484) "below. | * Fair | ly sp6ke.")
Fare. — " Poison'd, | ill _;^ | re, dead, | forsook, | cast off."
K. y. V. 7. 35.
'Loath to I bid y« | r^well, | we take | our leaves."
P. of T. ii. 5. 13.
'Lucius, I my gown. | Fare \ well, good | Messala."
J. C. iv. 3. 231.
"Died ev [ ery day | she liVd (Fob). | Fare \ thee well."
Macbeth, iv. 3. 111.
^' Fare I well, kins I man ! I' | will talk ] with you."
I Hen. IV. i. 3. 234.
•"For worms, | brave Per | cy. Fa \ r^well (so Folio), |
great heart." — lb. v. 4. 87.
"Why then j I wi \ II (483). Fa \ r^ell, | old Gaunt."
Rich. II i 2. 44.
So J. C. iv. 3. 231 J I Hen. IV. iv. 3. Ill (Folio) ; M. W. 0/ IV.
iii. 4. 97 ; K. y. iii. 2. 17. (See 475.)
LENGTHEmN-G OF WORDS. 371
Ere, —"For I' | intend j to have | it ir \ e (e-er) long."
I Hen. VI. \. 3. 87.
I should prefer to prolong the emphatic here, rather than "our," in
"What should | be spok | enAe\ r^ (he-er) where | our fate."
Macbeth, ii. 3. 128.
Mere. — The pause after ''night " enables us to scan thus :
** They have trav | ell'd all | the night (484). | ^Me \ re
fetches." — Lear, ii. 4. 90.
lliere. — "Hath death | lain with | thy wife. | There \ she lies."
R. andj. iv. 5. 36
'Towards Calais ; | now grant | him the \ re, the \ re seen."
Hen. V. V. Prol. 7.
(I have not found a Shakespearian instance of " Calais." Other-
wise at first sight it is natural to scan " Towards | Calais.")
^^ Exe. Like mii | sic.
Cant. The \ refdre \ doth heav'n | divide."
Hen. V. i. 2. 183.
Where. — "I know | a bank, | whire \ the wild | thyme bl6ws."
M. N. D. ii. I. 249.
'^ Hoi\ Where, \ my lord? |
Ham. I'n my | mind's eye, | Horatio."
Hamlet, i. 2. 185.
(But Folio inserts "Oh" before "where.")
Rarely.— ""Vs not ] this buck | led well? | Rdre \ ly, rarely."
A. and C. iv. 4. 11.
(The first "rarely" is the more emphatic : or? (483), "well." )
Dear. — "As done : | persev | erance, | dear \ my lord."
Tr. and Cr. iii. 3. 150.
'■^ Dear \ my lord, | if you, | in your | own proof."
M. Ado, iv. I. 46.
" The king | would speak | with Cornwall : ] the di \ ar
father."— Z<r«r, ii. 4. ]02.
" Oliv. Than mii | sic from | the sj)hc \ res.
Viol. De\ar\ieiy."
T. N. iii. I. 121.
Fear.— ^' Fear \ me not, ] withdraw, | I hear | him coming."
Hamlet, iii. 4. 7.
Hear. — "Hear, Na | ture, h^\ ar, dJ \ ar God | dess, hiar."
Lear, i. 4. 297
(The emphasis increases as the verse proceeds. )
Near.— '' Near, \ why then | anoth | er time | I'll hear it."
T.of A.\.2.\U.
B B 3
372 SHAKESPEARIAN GRAMMAR.
Tears. — ** Auf. Name not | the God, | thou boy | of //[ ars.
Coriol. Ha. l**
Coriol. V. 6. 101.
** Tiar \ for tear, | and lov | ing kiss [ for kiss."
T. A. V. 3. 156.
Year. — "Twelve yi\ ar since, | Miran | da, twelve | year since."
Tempest, i. 2. 53.
(The repeated "year" is less emphatic than the former.)
And, perhaps, if the line be pronounced deliberately,
"Many | years | of hap | py days | befal." — Rich. II. i. i. 21.
It might be possible to scan as follows :
"Well struck | in ye \ ars^ fd \ ir and | not jealous."
Rich. III. i. I. 92.
But the Folio has "jealious," and the word is often thus written
(Walker) and pronounced by Elizabethan authors.
Their (?). — If the text be correct, in
" The commons hath he pill'd with grievous taxes,
And quite lost | their hearts. | The no | bles hath [ he fin'd
For an | cient quarrels (463), | and quite | lost thi \ it
hearts,"— i^zr/z. //. ii. I. 247-8.
it is almost necessary to suppose that the second their is more
emphatic than the first. Else the repetition is intolerable. See
475. 476. But even with this scansion the harshness is so great as
to render it probable that the text is corrupt.
Hire. — "A ship | you sent ] me for | to /^/ | re waftage"
C. of E. iv. I. 95.
Sire. — "And is | not like [ the si \ re: hon | ours thrive."
A. W. ii. 3. 142.
Door. — " And with | my sword ] I'll keep | this do \ or safe."
T. A. i. I. 288.
More. — "If more, | the mS I re hast | thou wr6ng'd | (M) me."
Lear, v. 3. 168.
(The second "more" is the more emphatic.)
"As may | compact | it md \ re. Get | you gone."
lb. i. 4. 362.
" Who hadst | deserv | ed md \ re than [ a prison."
Temp. i. 2. 362.
C?Mr (perhaps) — "To list [ ^\\6u \ rpiir | pose. This is (461) | thy
office."— Tlf. Ado, iii. i. 12.
(" This is" is a quasi-monosyllable* See d.61.)
LENGTHENING OF WORDS. yjT^
**And by | me, had | not Su \ r hap | been bad."
C. of E.\. I. 3y.
*' First Sen. Which we | devise | him.
Corn. Ou \ r spoils | he ki'ck'd at."
Coriol. ii. 2. 128.
" First " requires emphasis in
" Sic. In 6u 1 r first | way.
Men. I I '11 bring | him to you.
^ lb. iii. I. 334.
Hour (often). — " A't the j sixth hou [ r, at | which time | my lord."
l^enipest, v. I. 4.
Your. — "And so, [ though jJw j rs^ not | yours* — prove j it so."
M. of V. iii. 2. 20.
** Lart. My horse | to ySu | rs, no! |
Mart. 'Tis done ! |
Lart. Agreed. "
Coriol. i. 4. 2.
"And pun | ish them | to yoti \ r height | of pleasure."
M.forM. V. i. 240.
Unless "pleasure" is a trisyllable. (See 479.)
" Is he pard | on'd and | iox ySu \ r love | ly sake." — lb. 496.
There is an emphatic antithesis in
"Wh6 is I lost too. I Take ySu | r pa | tience to you.
And /'//say nothing." — W. T. iii. 2. 232.
"And shall | have ySu \ r will, | because | our king."
3 Hen. VL iv. i. 17.
481. Monosyllables which are emphatic either (i) from their
meaning, as in the case of exclamations, or (2) from their use in
antithetical sentences, or (3) which contain diphthongs, or (4) vowels
preceding r, often take the place of a whole foot, .v This 15 less
frequent in dissyllabic words. In (i) and (2) as well as (3) the mono-
syllables often contain diphthongs, or else long vowels.
In many cases it is difficult, perhaps impossible, to determine
whether a monosyllable should be prolonged or not. Thus, in
" On this I unworth | y scaff ] old to \ bring forth,"
Hen. V. Prologue, 10.
many may prefer to scan " | -old to bri \ ng fo^'th" and to prolong
the following monosyllable rather than to accent "to ;" and in
" Came pour [ ing like | the tide \ intS \ a breach,"
Hen. V. i. 2. 149.
* It Is a matter of taste which yours should receive the emphasis.
374
SHAKESPEARIAN GRAMMAR.
it is possible to prolong the preceding monosyllable. "the//[ de
in I to a breach, " Such cases may often be left to the taste of the
reader (but for the accent of "into " see 457«). All that can safely
be said is, that when a very unemphatic monosyllable, as "at,"
" and," " a," " the," &c. has the accent, it is generally preceded or
followed by a very strongly accented monosyllable, as
" Assume the port oS. Mars ; and at his heels."
Hen. V. Prologue, 6.
It is equally a matter of taste whether part of the prolonged
monosyllable should be considered to run on into the following foot
or whether a pause be supposed after the monosyllable, as
'' Girding | with griev | ous siege \ castles | and towns."
Hen. V. i. 2. 152,
"As knSts 1 by the | conflux | of meet | ing sap."
Tr. and Cr. 1. 3. 7
482, Monosyllabic exclamations.
Ay. — " Folon. Wherefore | should you j do this? |
Reg. A'y, \ my lord?"
Hamlet^ ii. i. 36.
" King. Will you j be ruled ( by me? |
Laert. A'y, \ my lord."
Jk iv. 7. 60.
" A'y, I what else? | And but | I be | deceiv'd."
T. ofSh. iv. 4. 2.
" Vol. That brought | thee to | this world. |
Vir. A'y, \ and mine."
Corial v. 3. 125.
(?)" Corn. I's he | pursu | ed (474)?
Glou. A' I y, my | good lord."
Lear, ii. i. 111.
Nav. — " What says | he? No, \y, no | thing; all [ is said."
Rich. II. ii. I. 148.
' ' Cor, How, trai | tor !
Com, \ Nd I y, tem | p(e)rately ; [ your promise."
Corioi. i'i. 3. 67.
Stay. — " Stay, \ the king | hath thrown | his ward [ er down.'*
tb. i. 3. 118.
Yea. — " Fm, | my Lord | How brooks | your grace | the air?"
lb. iii. 2. 2.
//«j7, — ^' 'Gainst my | captiv | ity. | Hail, j brave friend."
Macbetk, i. a> 5.
LENGTHENING OF WORDS. 375 .
a—" Cass. O*, 1 'tis true. 1
He.r.i. :■ Ho ! bid | my trum | pet sound."
Tr. and Cr. v. 3. 13.
" CIm. C^, I 'lis trea \ son.
Charm. ' Madam, | I trust | not so."
A. and C. i. 5. 7.
" To hide [ the slain. [ 0^, \ from this | time forth."
Hamlet, iv. 4. 65.
" Mir. 0\ I good sir, | I do. ]
Prosp. I pray ] thee, mark me."
Tempest, i. 2. 80.
Perhaps ''Pol The devil 1 himself. |
King. Cf-, I 'tis (it is) | too true."
lb. iii. I. 49.
*' Self a I gainst self. | (7*, | prepos | terous."
Rich. III. ii. 4. 63,
"Their cl^a | rer rea | son. O*, [ ' good | Gonzalo."
Temp. V. I. 68
[ have not found ** reason" a trisyllable in Shakespeare.
** (7*, I my follies ! | Then E'd | gar was | abused."
Lear, iii. 7. 91.
** Cf"', I the difif I erence | of man | and man."
lb. iv. 2. 26.
? " The heart [ of wo | man is. | Cf', \ (453) Brutus."
J. C. ii. 4. 40.
" Struck Cse' | sar on | the neck, j (?'", j you flatterers."
lb. V. I. 44.
Soft. — " But s6 \ft! com | pany | is com | ing here."
T. ofSh. IV. 5. 26.
Come. — " CSme, \ good fell | ow, put | mine ir | on on."
A. and C. iv. 4. 3,
What. — " Where be | these knaves? | What, \ no man | at door !"
T. ofSh. iv. I. 125.
*' What, 1 unjust ! | Be not j so hot ; | the duke."
M.forM. V. I. 315.
Well.—'' Well, I give her | that ring, | and there | withal."
T. G. of V. iv. 4. 89.
" Gon. Remem | ber what | I tell | you.
Osw. Wi j //, madam."
Lear, i. 3. 21.
483. Monosyllables emphasized by position or anti-
thesis, A conjunction like " yet " or " but," implying hesitation.
576 SHAKESPEARIAN' GRAMMAR.
may naturally require a pause immediately after it ; and this pause
may excuse the absence of an unaccented syllable, additional stress
being laid on the monosyllable.
But.^"' Of good I ly thous | ands. Bil \ t, for | all this."
Macbeth, iv. 3. 44.
*' The Gods | rebuke | me bzi | / it | is tidings."
A. afid C.\. I. 27.
K/. — ** Though I I condemn [ not, ye \ /, un | der pardon."
Lear, i. 4. 365.
" Yet (as yet), | I think, | we are | not brought | so low."
T. A. iii. 2. 76.
** Brut. When Cse's j ar's head | is off. |
Cass. Yet \ I fear him."
y. C. ii. I. 183.
Pronouns emphasized by antithesis or otherwise, sometimes dis-
pense with the unaccented syllable.
** Show I men dii | tiful?
Why, so I didst thS \ u. Seem | they grave | and learned?
Why, so I didst t\i6\x."—Hen. V. ii. 2. 128.
(Possibly, however, "seem" may be prolonged instead of "thou.")
** When you | shall please | to play | the thieves | for wives.
I'll watch I as long | for y6 \ tt then. | Approach."
M. of V. ii. 6. 24.
** Were yd | 7/ in [ my stead, | would you | have heard V
Coriol. v. 3. 192
You is emphatic from Desdemona to Othello in
" Othello. 'Tis a | good hand,
A frank | one.
Desd. Yd \ u may | indeed | say so."
Othello, iii. 4. 44.
So in " How in | my strength | you please. | Yox yd \ u, E'dmund."
Lear, ii. i. 114.
and in the retort of Brutus on Cassius,
' ' Let me | tell yd \ u, Cass | ius, you | yourself
Are much | condemn'd | to have | an itch | ing palm."
y. c. iv. 3. 9.
Perhaps aware of Ferdinand's comment on his emotion, "youi
father's in some passion," Prospero turns to Ferdinand and says,
"• it is yo7i who are moved " in
*' Vo'u I do look, I my son, | in a | mov'd sort."
Temp. iv. I. 146.
LENGTHENTNG OF WORDS, 377
Otherwise the reading of the line so as fo avoid accenting "my"
seems difficult.
There is nc prolongation, though there is antithetical emphasis, in
" Look up I on him^ \ love him, | he wor | ships you."
A. Y. L. V. 2. 88.
The repeated "thence" seems to require a pause in
" Thence to | a watch, | thhice \ into (45 7<^) ] a weakness."
Hamlet, ii. I. 148.
But possibly, like " ord(i)nance," " light(^)ning " (see 477), so
" weakness " may be pronounced a trisyllable.
484. Monosyllables containing diphthongs and long
vowels, since they naturally allow the voice to rest upon them, are
often so emphasized as to dispense with an unaccented syllable.
When the monosyllables are imperatives of verbs, as "speak," or
nouns used imperatively, like "peace," the pause which they require
after them renders them peculiarly liable to be thus emphasized.
Whether the word is dissyllabized, or merely requires a pause after it,
cannot in all cases be determined. In the following examples the
scansion is marked throughout on the former supposition, but it is
not intended to be represented as necessary.
A (long). "Just as | you left | them, a \ II pris | 'ners, sir."
Temp. V. I. 8
"Try man j y, d\ll good, j serve trii | ly never."
Cymb. iv. 2. 373.
* ' Yea, look'st | thou pa \ le ? Let ] me see | the writing,"
Rich. II. v. 2. 67.
''Duke. Like the | old d \ge.
Clown. A're | you read | y, sir?"
T. N. ii. 4. 50.
"Yea, his | dread tri | dent shake. | My bra \ ve spirit."
Temp. i. 2. 206,
4i. " 'Gainst my | captiv | it;^. | Hail, \ brave friend."
Macbeth, i. 2. 6.
" I'll be I with (wi') you strdi \ ght. Go | a little | before."
Hamlet, iv. 4. 31.
I should prefer to avoid laying an accent on " the " in
**To_/a j 27 in the [ dispos 1 ing of I these chances."
Coriol. iv. 7. 40.
" Which is I most/i | int. Now [ 'tis true
I must I be here ' confin'd | by you." — Temp. Epilogue, 3,
378 SHAKESPEARIAN GRAMMAR.
Ay, " Say \ again, | where didst | thou leave | these varlets?"
Temp. iv. i. 170.
So in the dissyllable "payment."
" He humb I ly prays | you speed | y pay \ ment.^'
T. of A. ii. 2. 28.
Perhaps
*' What sd \y you, | my lord? | Are you | content."
I Hen. VI. iv. i. 70.
Perhaps
E. ^^ Senators. We \ '11 sure | ty him.
Co7n. Ag I ed sir, | hands off."
Coriol. iii. i. 178.
" Men. The con | sul Cori j olan | us
Bru. He \ ' consul ! ''—lb. iii. i. 280.
Ea. ** Peace. I I say. I Good e I ven to I you, friend."
A. V. L. ii. 4. 70.
** Anton I ius de \ ad! I'f | thou say | so, villain."
A. and C. ii. 5. 26.
" Doct. But, though | slow, de \ adly. \
Queett. 1 won | der, doctor."
Cymb. i. 5. 10.
** Wh^ dost 1 not speak? | What, de\ of: not | a word?"
T. A. y. 1. 46.
** Sp/aJk, I Lavin | ia, what | acciirs [ ed hand?"
lb. iii. I. 66.
** Which was | to pie' \ ase. Now | I want
Spirits to I enforce, | not to | enchant."
Temp. Epilogue, 13.
" Earth's in | crease, \ foison | plenty.
Barns and | garners \ never | empty." — lb. iv. I. 110.
Perhaps ** Glon. Alack, | the night | comes on, | and the (457)
ble I ak winds." — Lear, ii. 4. 303.
Perhaps "Truly ] to spe \ ak, and | with no | addition,"
Hamlet, iv. 4. 17.
or "Truly | to speak, | and with no | addit | ion."
" Be free | and he \ althftU. j So tart | a favour."
A. and C. ii. 5. 38.
** The safety and health of this whole state,"
Hamlet, i. 3. 21.
could not be scanned without prolonging both "health" and
"whole." Such a double prolongation is extremely improbable,
considering the moderate emphasis required. More probably
LENGTHEmi^G OF WORDS. 379
"sanity" should be read, as has been suggested, for "sanctity,**
the reading of the Folio.
Ee. "Forward, | not per | manent, | sweet, \ not lasting."
Hamlet, i. 3. 8.
** Seek I me out, | and that j way I' | am wife in."
Hen. VIII. iii. I. 38.
" The curt | ain'd sli \ ep witch | craft eel | ebrates."
Macbeth, ii. i. 51.
** Doth com I fort thee in | thy ile \ ep ; live, | and flourish."
Rich. Ill V. 3. 130.
** This ig I nor^it pres | ent and | \ fi\el now."
Macbeth, i. 5. 58.
" Enough I to fetch | him in. | See \ it done."
A. and C. iv. i. 14.
" Yet but I three. \ Come one | more,
Two of I both kinds | make up | four."
M. N. D. iii. 2. 437.
" When ste j el gr6ws | soft as | the para | site's silk."
Coriol. i. 9. 45.
"Soft" is emphasized as an exclamation (see 481), but perhaps
on the whole it is better to empha3i2e " steel " here.
" Ferd. Makes this | place Par | adise.
" Prosp. Sweet \ now, silence,"
Terfip. iv. i. 124.
Eo. The eo in the foreign-derived word "leopard" stands on a
different footing :
"Or horse | or ox | en from | the // 1 opdrd.'*
I Hen. VL i. 5. 31.
So, often, in Elizabethan authors.
/. "Men for | their wi \ ves : wl \ ves for | their husbands."
3 Hen. VI. V. 6. 41.
"Of great [ est just | ice. Wri \ te, write, | Rinaldo."
A. W. iii. 4. 29.
"Horri | ble si \ ght ! Now | I see | 'tis true."
Macbeth, iv. i. 122.
" Full fif I teen hundred, | besi \ des com j men men."
Hen. V. iv. 8. 84.
I know of no instance where "hundred," like (477) "Henry"
receives two accents. Else the "be-" in " besides " might (460) be
dropped, and the verse might be differently scanned
38o SHAKESPEARIAN GRAMMAR.
"Each man's | like w/ | ne: you | have shewn | all Hectors.'*
A. and C. iv. 8. 7.
** At a poor | man's house : | he lis'd | me Z'/ | 7td/y."
Coriol. i. 9. 83. But see 477.
Possibly "friends" may require to be emphasized, as its
position is certainly emphatic, in
"Till death | unloads | thee. Fri \ ends hast ] thou none."
M.forM. iii. i. 28.
"No, say'st | me so, \ friend? \ What coun | tryman?"
T. 0/ S/i. i. 2. 190.
"Yield, my I6rd, | protect | or _j'/ | eld, Win | Chester."
I Hefi. VI. iii. i. 112
("My" is dropped, 497.)
" Mort de | ma vi \ el I'f | they ride | along."
Hen. V. iii. 5. 11.
(). "Drive him | to R6 \ me: 'tis (it | is) time | we twain."
A. and C. i. 4. 73
" Card. Rdme \ shall reme | dy this. |
Glou. Roamthi I ther, then."
I Hen. VI. iii. I. 61.
"While he | himself | keeps in | the c6 \ Id field."
3 Hen. VI. iv. 3. 14
"Toad that | under | cold \ st6ne
Days and | nights has | thirty | one." — Macbeth, iv. i. 6.
So scan " Go to the | creating | a whS \ le tribe [ of fops."
Lear, i. 2. 11
Oa. "Is go I ads, thS I rjts (485), net I ties, tails I of wasps."
W. T. i. 2. 329.
Oi. *^ Joint \ by joint, | but we | will know [ his purpose."
M.forM. V. I. 314.
"What wheels, [ racks, fires? i What flay | ing, bd \ iling?"
W. T. iii. 2. 177.
"God save | you, sir. | Where have you | been brS \ iling?'^
Hen. VIII. iv. i. 56.
"Of their ] own ch6 \ ice : one | is Jiin | ius Brutus."
Coriol. i. I. 220.
"What say [ you, bo \ys? Will | you bide | with him?"
T. A. v. 2. 13.
0% "Than in I my thought | it lies. | GSod \ my lord."
A. W. V. 3. 184.
It might be thought that in the above the prolongation rests on
li^ (lieth), but that we have also
Hi
LENGTHENING OP WORDS 381
** Gdod j my lord, | give me | thy fav | our still."
Temp. iv. I. 204
"The go j od gods | will mock | me pres | ently."
A. and C. iii, 4. 15.
"He straight | declin | ed, dro \ op d, took | it deeply."
W. T. ii. 3. 14.
"To it, I boy ! Mar | cus, 16 \ ose when | I bid."
T. A. iv. 3. 6».
"Hours, min | utes, n6 \ on, mid | night, and | all eyes."
IV. T. i. 2. 290.
" But rS I om, fai [ ry, here | comes O'b | eron."
M. N. D. ii. I. 68.
*' Bdot I less home | and weath | er-beat | en back."
I Hen. IV. iii. i. 67.
" Pull off I my ^^ 1 at: hard | er, hard | er, so."
Lear, iv. 6. 177.
"But mS I ody \ and dd \ II mel | ancholy."
C. ofE. V. I. 79.
Some may prefer to read "dull" as a monosyllable, but I can
find no instance of "melancholy" to justify such a scansion.
In " Lear. To this | detest | ed^^ [ om.
Gon. A't I your choice, sir,'
Lear, ii. 4. 220.
either " groom "or " your " should be dissyllabized.
"I' do I wander | every | where
Swifter | than the | mSon^s \ sphere." — M. N. D. ii. i. 7.
Ou. "Which else | would free | have wro \ ught. A'll | is well."
Macbeth, ii. I. 19.
In "Should drink ] his blood — | mSunts | up to | the air."
Marlow, Edw. II.
Collier (Hist, of British Stage, vol. iii.) thinks "mounts" the
emphatic word to be dwelt on for the length of a dissyllable.
Ow. "Own" is perhaps emphasized by repetition (or "Are" is r
dissyllable, as "fare," "ere," "where," 480) in
** Hel. Mine own | and not | mine 6 \ ivn.
Deni. A're | you sure ?
M. N. D. iv. I. 189-
Oy, The last syllable of " destroy " seems prolonged in
"To fright I them ere I destrS \ y. But | come in."
Cotiol. iv 5. H&
382 SHAKESPEARIAN GRAMMAR.
U. It may be that "fume" is emphasized in
"She's tick I led now. | Her/z^ | me needs | no spurs."
2 Hen. VI. i 3. 153.
(Unless "needs" is prolonged either by reason of the double vowel
or because "needs" is to be pronounced "needeth.")
" Triie I nobil | ity is | exempt | from fear,"
2 Hen. VI. iv. I. 129.
Titania speaks in verse throughout, and therefore either "and"
must be accented and "hoard" prolonged, or we must scan as
follows :
" The squir | rel's hoard, | and fetch | thee nhv \ ' nuts."
M. N. D. iv. I. 40.
" Cord. That wants | the means | to lead it. \
Mess. NSws, \ madam."
Lear, iv. 4. 20.
485. Monosyllables containing a vowel followed by " r "
are often prolonged.
A. " Tkyr. Hear it [ apdr \ t.
Cleo. None | but friends : | say boldly."
A. and C. iii. 13. 47.
"Ho I ly seems | the quarrel
Upon I his gra | cchpa \ rt ; black | and fearful
O'n the j oppo | ser." — A. W. iii. i. 5.
"Well fitt(ed) | in « | rts, glo | rious | in arms."
L. L. L. ii. I. 45.
"Strikes his ) breast hd \ rd, and | anon | he casts."
Hen. VI II. iii. 2. 117.
" But could I be willing | to ma \ rch on | to Calais."
Hen. V. iii. 6. 150.
"Hark I ye, lords, | ye see | I have given | her physic."
T. A. iv. 2. 162,
"Look how I he makes | to Cse's | ar, mar \ k him."
y. C. iii. 2. 18.
Ei. " I dreamt | last night | of the | three wS \ ird sisters."
Macbeth, ii. I. 20 (Folio, " weyard").
" A'nd be | times T | will to | the we \ ird sisters."
lb. iii. 4. 133, iv. i. 136.
Or " will " is perhaps emphasized and the prefix in " betimes "
ignored. In either case " weird " is a dissyllable.
" The wi I ird sis I ters hand I in hand." — Macbeth^ i. 3, 32,
LENGTHENING OF WORDS. 3S3
/. "A thi I rd thinks | without | expense | at all.'
I Hm. VI. i. I. 76.
"Of Lion I el duke | of Clarence, | the thi \ rd son."
lb. ii. 5. 75.
"To king 1 Edward | the thi \ rd, where [ as he."— /^. 76.
O. ''Brit. Spread fiir [ ther (478).
Men. One xvS \ rd more, | one word."
Coriol. iii. I. 311.
"Make the | prize light. | One wdr \ d more, | I charge
thee."— 7>w/. i. 2. 452.
''Hani. One wSr \ </m6re, j good lady. |
Queen. What shall | I do ?"
Hamlet, iii. 4. 180.
" Do more | than this | in sp6 \ rt ; fa | ther, father ! "
Lear, ii. i. 37.
" WSrse I and worse ! | She will | not come ! | O, vile !"
T. of Sh. V. 2. 93.
"Not in I the w6 \ rst rank | of man | hood, say't."
Macbeth, iii. i. 103.
"Why so, I brave 16 \ rds, when | we join | in league."
T. A. iv. 2. 136.
"My 16 I rd, will | it please | you pass | along."
Rich. II L ii: i. 110.
"Of good I old A' I braham. | L6rds \ appellants."
Rich. IL iv. I. 104.
(" A'ppellauts " is not Shakespearian.)
"But tell I me, is | young Ge6r \ ge Stan | ley living?"
lb. V. 5. 9.
or, possibly,
" But tell me, |
Is young j George Stan | ley living ? "
Ou. "Henry doth claim the crown from John of Gaunt,
The /6u I rth son : | York claims | it from | the third."
2 Hen. VI. ii. 2. 55.
So, perhaps,
"And long | live Hen | ry f6u \ rth of | that name."
Rich. II. iv. I. 112.
("Four" was often spelt "fower." "Henry" is not pronounced
" Hen(e)ry " in Richard II.)
" Heart," not "you," ought to be emphatic in
" Not by I the mat 1 ter which | your hear \ t prompts you."
Coriol. iii. 2. 64.
384 SHAKESPEARIAN GRAMMAR,
Probably we ought to arrange the difficult line, Macbeth, iv, I.
105, thus :
"A'ud an | etern ] al ci'i \ rse fall | on you.
Let me know.
Why sinks," &c. ?
486. Monosyllables are rarely prolonged except as in the
aljove instances. In some cases, however, as in "bath," "dance,"
a vowel varies very much in its pronunciation, and is often pro-
nounced (though the incorrectness of the pronunciation would now
be generally recognized) m such a way as to give a quasi -dissyllabic
sound.
"You and | your era \fts, you | have craft | ed fair."
CorioL iv. 6. 118.
" I'f that I you will | Frdiue \ win,
Then with | Scotland | first be | gm"—Hen. V. i. 2. 167.
In a few other cases monosyllables are, perhaps, prolonged :
"You shall I read us | the wi \ II. Cse's | ar's will !"
J. C. iii. 2. l.o3
" Cas. Cicer \ o Sn\ e?
Mes. Cic I ero | is dead."— 7(5. iv. 3. 179.
"I' will I ever | be your | head,
So be I gofie ; \ you are | sped." — M. of V. ii. 9. 72.
" Then shall | the realm | of Alb | ion
Cdme I to great | confus | ion." — J^ar^ iii. 2. 92.
"For our | best act. ( IT we | shall std \ nd still."
Hen. VIIL i. 2. 85
(Can "all" have dropped out after "shall?")
"The thank [ ings of \^ ki\ 77g. F | am, sir."
Cymb. V. 5. 407.
" Here she | eSmes, \ curst and | sad :
Cupid I IS a I knavish | lad."— t^/! N. D. iii. 2. 439.
"Well" (481) is prolonged as an exclamation, and perhaps
there is a prolongation of the same sound in
'■^ Melt \ed2s\ the snow | seems to | me now."
M. N. D. iv. I. 163.
So, in " The go | ds, not 1 the pa trie | ians, make | it, and,"
Coriol. i. I. 75.
"gods" is probably prolonged by emphasis, and the second "the"
is not accented- So " most " in
LENGTHENING OF WORDS. 385
"With Ti I tus Larcius, | a mo \ st val | iant Roman.'*
Coriol. i. 2. 14.
*' Larcius" has probably but one accent. However, "a" appears
sometimes to have the accent.
So, perhaps,
" Ang. Where pray [ ers crS \ ss.
Isab, A't I what hour | to-morrow?"
M./orM. ii. 2. 159.
** Drachm" (Folio " Drachme ") is a dissyllable in
" A't a I crack'd drdch \ m ! Cdsh | ions, lead | en spoons."
Coriol. i. 5. 6.
487. E mute pronounced. This is a trace of the Early English
pronunciation.
Es, s. "Your grace | mistak | es: on [ ly to | be brief."
Rich. II. iii, 3. 9.
"Who's there, | that knock j (e)j- so | imper | iously?"
I Heji. VI. i. 3. 5.
"Well, let I them rest : | come hith | er, Cat | eshj.'"
Rich. III. iii. I. 157.
"Here comes | his serv | ant. How | now, Cat | eshj'i"
lb. 7. 58.
"Till all I thy bones | with ach | es make | thee r6ar."
Temp. i. 2. 370.
" A'ch^j I contract, | and starve | your siip | pie joints."
T. of A. i. I. 257, V. i. 202.
But this word seems to have been pronounced, when a noun,
"aatch." At least it is made by Spenser, Sh. Cal. Aug. 4, to
rhyme with "matche."
"Send Co | /<fvile | with his | confed | erates."
2 Hen. IV. iv. 3. 79.
So " forces \ ter, get | thee gone ! | For I' | do see."
I Hen. IV. i. 3. 15, iii. i. 5, v. 5. 14 (Fol. omits "thee").
"We have; | whereupon (497) | the earl | of W6rc | w'ter."
Rich. II. ii. 2. 68.
So " Glou^^Jter," i Hen. VL i. 3. 4, 6, 62, and
"O lov I ing uncle (465), | kind duke | of Glou | cesiir.'*
I Hen. Vi, iii. i. 142.
'' This is the flower that smiles on ev^ry one
Tu show I his teeth | as white | as wha | le's b6ne."
Z. /.. L v. 2. 332.
c c
586 SHAKESPEARIAN GRAMMAR.
So, in a rhyming passage,
"Whose shad | ow the | dismiss | ed bache | lor loves
Being | lass-lorn ; | thy pole | -dipt vi'n | ^-yard
And thy | sea-marge, | sterile | and rock | y-hard."
Temp. iv. I. 6S.
"She nev | er had | so sweet | a chang | ^li'ng."
M. N. D. ii. I. 23.
Perhaps '^ Fran. They van | ish'd Strang | e\y.
Seb. No mat | ter, since."
Temp. iii. 3. 40. But see 506.
Possibly "cradles" may approximate to a trisyllable, "crad{e)les "
(so "jugg(e)ler," &c. 477), m
"Does thoughts | unveil | in their | dumb crd | dlh."
Tr. and Cr. iii. 3. 200.
The e is probably not of French but of Latin origin in
" statue :"
"She dreamt | to-night [ she saw | my stat \ «</."
J. C. ii. 2. 76.
"E'ven at | the base | of Pom | pey's stdt \ u^."
(Folio) lb. iii. 2. 192.
Globe "statua."
So in the plural :
"But like I dumb stdt \ uis \ of breath | ing stones.'
Rich. Ill, iii. 7. 25
Globe, *^statuas.^^
"No marble statua nor high
Aspiring pyramid be raised." — Habington (Walker).
488. The "e " in commandment, entertainment, &g., which
originally preceded the final syllable, is sometimes retained, and,
even where not retained, sometimes pronounced.
" Be val I ued 'gainst | your wife's | command | (£')ment."
* M.ofV. iv. I. 451.
"From him | I have | express | command | (^)ment."
* I Hen. VI. i. 3. 20.
The e is inserted in
"If to women he be bent
They have at command^ment. " — P. P. /ji8.
"Good sir, I you'll give | them en | tertain | (^)ment."
B. J. Fox^ iii. z.
* In both cases the first folio inserts e. In the foimer the folio read? a^nimt.
LENGTHENING OF WORDS. 7,%^
Perhaps an e is to be sounded between d and v in
'*A'nton I y Wood | (^)ville, | her broth | er there."
Rich. III. i. I. 67.
489. E final in French names is often retained in sound
as well as spelling :
"The mel [ anchol f y Jdq \ ues grieves [ at that."
A. Y. L. ii. I. 26.
" O m)r I ParSll \ «•, they j have marr | ied me."
A. W. ii. 3. 289.
*'His grace | is at | MarsSill \ es, to | which place."
lb. iv. 3. 9 ; r. 0/ Sh. ii. i. 377.
"Daughter | to Chdr \ lemdin, | who was | the son."
Hen. V. i. 2. 75.
"Guienne, [ Champdg \ ne, Rhe | ims, O'r | leans."
I Hen. VI i. i. 60.
"This prince | Montdig \ ne, if | he be | no more."
"He can | not say | but that | Montdig \ ne yet."
Daniel (on Florio).
"Now Esp I erdnc \ e, Per | cy, and | set on."
I Hen. IV. V. 2. 97.
"Call'd the | brave 16rd [ Ponton | de Sdu \ trailles."
I Hen. VI i. 4. 28.
"Dieu de \ battdi \ lies! Where | have they | this mettle?"
Hen. V: iil 5. 15.
So in "Vive:"
" ' Vive I le roi,' | as I' | have bank'd | their towns."
K. J. V. 2. 104.
Thus, perhaps, we may explain the apparent trisyllabic "marshal"
by a reference to "mareschal :"
"Great mar | (e)shal | to Hen | (e)ry {477) | the Sixth."
I Hen. VI iv. 7. 70.
"With wing | ed haste | to the | lord mar | (e)shal."
I Hen. IV. iv. 4. 2.
On the other hand, the influence of the r (see 463) seems to make
"marshall" a quasi-monosyllable in
"Lord marshal, \ command | our off | icers | at arms."
Rich. II. i. I. 204.
The i in the French " capitaine" is invisibly active in
" A wise I stout cap | (/)tain, j and soon | persuaded. "
3 Hm. VI. iv, 7. 30 ; Macbeth, i 2. 31
c c 2
3S3 SHAKESPEARIAN GRAMMAR.
ACCENT.
49C, Words in which the accent is nearer the end than
with us.
Many words, such as "edict," "outrage," "contract," &c., are
accented in a varying manner. The key to this inconsistency is,
perhaps, to be found in Ben Jonson's remark that all dissyllabic
nouns, if they be siinple, are accented on the first. Hence "edict"
and "outrage" would generally be accented on the first, but, when
they were regarded as derived from verbs, they would be accented
on the second. And so, perhaps, when "exile" is regarded as a
person, and therefore a "simple" noun, the accent is on the first,
but when as "the state of being exiled," it is on the last. But
naturally, where the difference is so slight, much variety may be
expected. Ben Jonson adds that " all verbs coming from the I^atin,
either of the supine or otherwise, hold the accent as it is found
in the first person, present of those Latin verbs ; as ixQva..celehrc,
celebrate.''^ Without entering into the details of this rule, it seer as
probable that "edict," "precept," betray Latin influence. The
same fluctuation between the English and French accent is found in
Chaucer (Prof. Child, quoted by Ellis, E. E. Pronunc. i. 369),
who uses "bataille," C. T. 990, and "batail," ib. 2099: " For-
tune," i*^. 917, and "fortune," ib. 927; " daunger, " and "daunger."
Abject {LdiWn). — "We are | the queen's 1 abjects, \ and must | obey."
Rich. III. i. I. 106.
But if the monosyllable "queen" be emphasized, we may scan
" We are | the que | en's abjects, \ and must | obey."
Access {\.-3A:m). — W. T. v. i. 87.
Aspect (Latin).— ^. and C, i. 5. 33 ; T. N. i. 4. 28.
Characters. — "I say j without | chardc \ ters fame | lives long."
Rich. Ill iii. i. 81 ; Hamlet, i. 3. 59.
Commindable.
"Thanks faith, ' for silence | is only | commend \ able
In a neat's j tongue dried | and a maid | not vend [ ible."
M. ofV. i. I. 111.
This shows how we m.ust scan
"'Tis sweet and (407) | command \ able in ] your na ! turej
Hamlet.' — Hamlet, i. 2. 87.
ACCENT. 359
But, on the other hand,
** And power, | unto | itself | most c6m \ menddble."
Coriol. iv. 7. 51.
Commirce (Latin). — So arrange
"Peaceful | commh'ce \ from di | vida- | ble shores."
Tr. and Cr. i. 3. 10/>.
Confiscate (Latin). — C. of E. i. I. 21 ; but "confiscate," ib. i. 2. 2.
O^/zjt^r/ (Latin).— "What say'st | thou? Wilt | thou be | of our ]
cons6rtV'—T. G. of V. iv. i. 64.
** Edmund. Yes, madam,
He was | of that | consdrt.
Reg. No mar | vel, then."
Lear, ii. I. 99.
CV«/;w7 (Latin). — "Our wills | and fates | do so | contrd \ ry run."
Hamlet, iii. 2. 221.
Contract (Latin).
"Mark ounr | contrdct. \ Mark your | divorce, | young sir."
W. T. iv. 4. 428 ; A. W. ii. 3. 185 ; i Hen. VI. iii.
I. 143, V. 4. 156 ; Rich. III. iii. 7. 5, 6 ; Temp.
ii. I. 151.
Compdct (Latin, noun).— ^/<r//. ///. ii. 2. 133 ; J. C. iii. i. 215.
Different (Latin). — " And much | differ \ ent from | the man j he
was."— C of E. V. I. 46.
Here, however, by emphasizing the monosyllable "much," the
word " different" may be pronounced in the usual way.
Edict (Latin).— 2 Hen. VI. iii. 2. 258, and
"It stands | as an | edict \ in des | tiny."
M. N. D. i. I. 151.
Effigies (Latin unaltered).
" And as | mine eye | doth his | effi \ gies witness."
A. V. L. ii. 7. 193.
Envy (verb ; noun, invy).
" I's it I for him | you do | envy \ me so?" — T. ofSh. ii. i. IS.
Executors. — Hen. V. i. ' 2. 203 is not an mstance, for it means
"executioners." In its legal sense, Ib. iv. 2. 51, it is accented as
with us.
Exile {X-2X\Vi).—R. and J. v. 3. 211 (frequent). -
Instinct (noun, Latin).
"Hath, by | instijict, \ knowledge | from 6th j ers' eves."
2 H^n IV i I 86.
^90 SHAKESPEARIAN GRAMMAR.
**B^ a I divine [ instinct \ men's minds [ mistrust."
Rich. III. ii. 3. 42 ; Coriol. v. 3. S5.
IntS. — See 457^.
Misery. — Some commentators lay the accent on the penultimate in
**0i such I miser \ y doth | she cut | me off,"
M. of V.\y. I. 272.
but much more probably "a" has dropped out after "such."
The passage
"And buss | thee as | thy wife. | Miser [ y's love,"
K. J. iii. 4. 35.
proves nothing. The pause-accent is sufficient to justify "misery. "
Nothing. — See Something, below.
Obdiirate (Latin).— 3 Hen. VI. i. 4. 142 ; M. 0/ V. iv. i. 8 ; T. A.
ii. 3. 160 ; ^. ^ L. 429.
"A'rt thou I oddii \ rate, flin | ty, hard | as steel?"
V. and A. 198.
Opportune (Latin). — "And most [ opp6rt\ une to | our need |
I have. "—^ T. iv. 4. 511.
"The most | opport ] une place, | the strong' st | suggestion."
Temp. iv. i. 26.
Outrdge.—l Hen. VI. iv. i. 126.
Peremptory (perhaps).
" Yea, mis | tress, are | you so [ peremp | tory ? "
P. ofT. ii. 5. 73.
This accentuation is not found elsewhere in Shakespeare : but the
author of Pericles of Tyre may have used it. It is possible, however,
to scan
"Yea, mis | t(e)ress (477), [ are you | so pe | rempt(o)ry ?"
Portints. — "These are \ portents: \ but yet | I hope, | I hope."
Othello, V. 2. 45.
So I Hen. IV. ii. 3. 65 ; Tr. and Cr. i. 3. 96.
Hence "fear" is not a dissyllable in
"A prod I igy | of fear, | and a | portent.''''
I Hen. IV. V. i. 20.
If " and " is correct, we must probably scan as follows :
"And these | doth she apply | for warn | ings and | portents.'*^
J. C. ii. 2. 80.
Precepts (Latin).— ^^«. V. iii. 3. 26; but "precepts," Hamlei,
ii. 2. 1 42.
m
ACCENT. 391
Prescience retains the accent of science, indicating that the word
was not familia r enough as yet to be regarded as other than a
compound :
"Forestall | pxsci \ ence and | esteem | no act."
Tr. and Cr. i: 3. 199.
Rec6rd[xy.oym, Latin).— 7?/V/^. ///. iii. i. 72, iv. 4. 28 ; T.N.\. i. 253.
Sepulchre (Latin). — **Bdnish'd | this {xiA \ ieptil \ chre of | our
U%\i."—Rich IL i. 3. 194.
**0r, at I the least, I in hers I sepul \ chre thine."
r. G. of V. iv. 2. 118.
**May like | wise be | sepdl \ chred in | thy shade."
R. of L. 805 ; and, perhaps, Lear, ii. 4. 134.
Sinister (Latin). — *"Tis no | sinis \ ter nor | no awk | ward claim."
H^n. V. ii. 4. 85.
So, but comically, in
*' And this | the cran | nv is, | right and \ sinister ,
Through which I the fear ful lov I ers are | to whisper. "
M. N. D. V. I. 164.
Sojourned (perhaps) in
** My heart | to her | but as ] guest-wise | sojSurn'd."
lb. iii. 2. 171.
But (?) emphasize **her," and scan
"My heart | to her | * but | as guest- | \n%& sSjourn' d."
Something (sometimes perhaps). "My inward | soul
At no I thing tremb | les : at | something \ it grieves. "
Rich. II. ii. 2. 12.
Compare perhaps
"And r I nothing \ to back | my suit | at all."
Rich. II L i. I. 236.
But, if "I" be emphasized, "nothing" may be pronounced as usual.
" I fear | nothing I what may I be said | against me."
Hen. VIIL i. 2. 212.
But "fear" may be a dissyllable, 480.
Sweethiart.—Hen. VIIL i. 4. 94 : heart being regarded as a noun
instead of the suffix -ard.
Triumphing (Latin) sometimes.
"As 'twere 1 triumph I ing at I mine en | emies."
Rich. in. iii. 4. 91.
Unto. — See 457 a.
WelcSme. — "Nor friends, | nor foes, | to me | welcdme \ you are,"
Rich. II. ii. 3. 170.
392 _ SHAKESPEARIAN GRAMMAR.
This particular passage may be explained by a pause, but " wel-
come" is common in other authors.
WkerefSre (in some cases), though it can often be taken as "there-
fore," and explained by a preceding pause.
"O'ft have | you (6ft | en hive | you thanks [ therefore)."
Tr. am] Cr. iii. 3. 20.
" And v^k I must yearn | tkef-efore." — Heit. V. ii. 3, 6.
** Hate me ! | WkerefSre? | O me ! | what news, | my love."
M. N. D. iii. 2. 272.
Perhaps
*' For the I sound man. | Death on ] my state, | wherefSre?"
Lear, ii, 4. 113.
But better
" Death on my state ! (512)
Wherefore \ should he | sit here? | This act | persuades
me."
491. -Ised, when ending polysyllables, generally has now a
certain emphasis. This is necessary, owing to the present broad
pronunciation of i. Such polysyllables generally have now two
accents, the principal accent coming first. But in Shakespeare's
time it would seem that the i approximated in some of these words
to the French i, and, the -ed being pronounced, the i in -ised was
unemphatic. Hence the Elizabethan accent of some of these words
differs from the modern accent.
Advirtised. — "As I' | by friends | am well | advert \ isM."
Rich. III. iv. 4. .501.
"Wherein | he might | the king | his lord | advertise.'^'
Hen. VIII ii. 4. 178.
"I was I advert \ ised their | great gen | eral slept."
Tr. and Cr. ii. 2. 111.
So M.for M. \. I. 42.
Chastised. — "And when | this arm | of mine | hath chds \ tised."
Rich. Ill iv. 4. 331.
"This cause I of Rome, I and chds | tised \ with arms."
T. A. i. I. 32.
This explains :
Canonized. — " CanSn I izid. I and wor I shipp'd as I a saint."
K. J. iii. I. 177.
" Wh]^ thy I canSn \ iz'd b6nes, | hearsed ] in death."
Hamlet, i 4. 17
^
ACCENT. 393
"Are brd | zen im j age(s) [471] of \ can6n \ iz^d saints."
2 Hen. VI. i. 3. 63.
Authorized. — ** Authdr \ iz^d by | her gran | dam. Shame | itself.'
Macbeth, iii. 4. 66.
*^ Author I izing \ thy tres | pass with [ compare." — Sonn.},%
"His nide | ness so | with his | author \ iz'd youth."
Z. C. 104,
So once :
Solemnised. — " Of Ja | ques Fal | conbndge [ solhn \ nisid."
L. L. L. ii. I. 42.
But in M. of V. "solemnised."
492. "Words in which the accent was nearer the begin-
ning than with us. Ben Jonson (p. 777) says all nouns, both
dissyllabic (if they be "simple") and trisyllabic, are accented on the
first syllable. Perhaps this accounts for the accent on cdnfessor, &c.
The accent on the first syllable was the proper noun accent ; the
accent on the second (which in the particular instance of confessor
ultimately prevailed) was derived from the verb.
Archbishop. — "The mar | shal and | the arch \ bishSp \ are strong."
2 Hen. IV. ii. 3. 42, 65.
Chnent (noun).
"Your tem | pies bum | ed in | their ce j ment and."
Coriol. iv. 6. 85.
So the verb, A. and C. ii. i. 48 ; iii. 2. 29.
CSmpelVd (when used as an adjective).
"This c6m XpelVd for | tune, have | your mouth | fill'd up."
Hen. VIIL ii. 3. 87.
" I talk I not of | your soul : | our c6m \ pelVd sins."
M. for M. ii. 4. 57.
CSmplete. — "A maid I of grace I and c6m \plete maj | esty."
L. L. L. i. I. 137.
So Hamlet, i. 4. 62 ; Hen. VIII i. 2. 118 ; Rich. Ill iii. i. 189.
ChiceaVd.—" My c<hi \ ceaVd la 1 dy to | her can | cell'd love."
R. and J. iii. 3. 98.
Conduct. — The verb follows the noun "safe-conduct" in
*' Safe-c6n \ ducting \ the reb | els from | their ships."
Rich. Ill iv. 4. 483.
But the noun is condtict in T. A. iv. 3. 65.
394 SHAKESPEARIAN GRAMMAR.
C6nJessor.—Hen. VIII. i. 2. 149 ; R. and J. ii. 6. 21, iii. 3. 49.
*' O'ne of I our c6 {sic) \ vent and | his cSn \ fessSr^
M. for M. iv, 3. 133
CSngeatd. — "O'pen | their c6n\geaVd mouths | and bleed 1
afresh."— ^/<r//. ///. i. 2. 56.
Conjure (in fhe sense of "entreat"). — T. G. of V. ii. 7. 2 ; frequent.
Consigned. — "With dis \ tinct breath, f and c6n \ sign'd kiss | es
t6 them."— TV. and Cr. iv. 4. 47.
See ''distinct" below.
Cdrrosive. — "Care is | no cure, | but ra | ther c6r \ rostve."
I Hen. VI. iii. 3. 3 ; 2 Hen. VI. iii. 2. 403.
Delectable.— ''^z^ixxvg \ the hard | way soft | and de \ lectdble."
Rich. II ii. 3, 7.
Detestable. — "And V \ will kiss [ thy de\ testa \ ble bones."
K. y. iii. 4. 29 ; T. ^A. iv. i. 33.
Distinct. — "To offend | and judge | are dis \ tiitct off | ices."
See '' c6nstgn^d" above. M. of V. ii. 9. 61.
Enginer. See Pioner below.
Forlorn. — "Now for ] the hon | our of | the_/^r | lorn French."
I Hen. VI. i. 2. 19.
Hiimane. — " It is | the hum \ ane way, | the 6th | er course."
Coriol. iii. i. 327.
Maintain. — "That here | you main \ tain sev | eral fac | tions."
I Hen. VI. i. I. 71.
Mdture. — So apparently in
" Of murder | ous lechers: | and in | the ma \ ture time."
Lear, iv. 6. 228.
This is like "nature," but I know no other instance of "mature."
Methinks (sometimes).
" So your | sweet hue | which mi \ thinks still | doth stand,"
Sonn. 104.
I cannot find a conclusive instance in Shakespeare, but this word
is often (Walker) thus accented in Elizabethan writers.
Miltiners. — Coriol. i. I. 255. See Pioners below.
Myself (perhaps, but by no means certainly, in)
''\my\ self fight | not once | in for | ty year."
I Hen. VI 1. 3. 91.
But certainly himself, myself «5cc. are often found in Elizabethan
authors, especially in Spenser :
ACCENT, 395
** Mourns inwardly and makes to hlimelfe mone."
Spens. F. Q. ii. I. 42.
The reason for this is that self^ being an adjective and not a noun,
is not entitled to, and had not yet invariably received, the emphasis
which it has acquired in modem times.
And so, perhaps :
"And band | ing them \ selves in | conti-a (490) | ry parts."
I Hen. VI. iii. i. 81.
Nh-thampton.—''\.-isX night | I hear | they lay j at Ndrth- \
amptdn." — Rich. III. ii. 4. 1.
Obscure (adj.; as a verb, obsctire).
"To rib I her cere | cloth in | the 6b \ scure grave."
M. of V. ii. 7. 51.
' ' His means | of death, ] his <^ | scure fii | neral. "
Hamlet, iv. 5. 213.
Obsei-vant. — " Than twen | ty sill | y duck | ing 6b \ servants.'"
Lear, ii. 2. 109.
Persever — "Ay, do, \ pershj \ er, count | erfeit | sad looks."
M. N. D. iii. 2. 236 ; A. W. iii. 7. 31 ; i^ J. ii. i. 421 ;
Hamlet, i. 2. 92.
This is the Latin accent in accordance vrith Ben Jonson's rule.
" Bounty, | pershj \ [e)rance, mer | cy, low | liness."
Macbeth^ iv. 3, 93.
Perspective.— A. W. v. 3. 48; Rich. II. ii. 2. 18.
The double accent seems to have been disliked by the Eliza-
bethans. They wrote and pronounced "muleters" for "muleteers,"
"enginer" {Hamlet, iii. 4. 206) for "engineer," "pioners" for
" pioneers." This explains :
Pioners, — "A worth | y pioner. \ Once more | remove, | good
{riends."— Hamlet, i. 5. 162.
Plebeians (almost always).
" The//<r^ | eidm | have got | your fel | low-tribune."
Coriol. v. 4, 39 ; i. 9. 7, &c.
This explains
"Let them | have cush | ions by you. | You're plJb | eidns."
lb. iii. I. 101.
Exceptions : Hen. V. v. Chorus, 27 ; T. A. i, i. 231.
So " Epicurean" in Elizabethan authors and A. and C. ii. I, 21
The Elizabethans generally did not accent the e in such words.
396 SHAKESPEARIAN GRAMMAR.
Piirmit. — ** \xipiir \ suit of | the thing | she would | have stay."
Sonn. 143.
** We tri I fle time. | I pn | thee/z/V | sue sentence."
M. of V. iv. I. 298.
Purveyor. — " To be | \i\% pur \ veySr : \ but he [ rides well."
Macbeth, i. 6. 22.
Quintessence. — " Teaching | all that | read to | know
The quint \ essence j of ev | ery sprite." — A. V. L. iii. 2. 147.
Recorder'^). — '^ To be ] spoke to | but by | the rS \ corder.''
Rich. III. iii. 7. 30,
So also Walker, who quotes from Donne's Satires, v. 248, Ed.
1633:
** Recorder to Destiny on earth, and she."
But this line might be scanned otherwise.
Relapse: — '* Killing | inre' \ lapse of | mortal 1 it^."
Hen. V. iv. 3. 107.
Rheumatic. — ** O'erwom, | despis | ed, rhSu \ matte, \ and old."
V. and A. 135 ; M. N. D. ii. i. 105.
So ** These /r^^ | matic \ young men | at their | own weapons."
B. J.
Secure. — " Upon | my si \ cure hour | thy un [ cle stole."
Hamlet, i. 5. 61 ; Othello, iv. I. 72.
Sequester' d. — " Why are | you si \ questird \ from all | your train?"
T. A. ii. 3. 75.
Successor (rare).
"For being | not propp'd [ by an | cestry | whose grace
Chalks Slice \ essors \ their way, | nor call'd | upon," &c.
Hen. VIII. i. I. 60.
Successive (rare). — "Are now ( to have | no siicc \ essive \ degrees."
M. for M. ii. 2. 98.
Towards (sometimes).
"And shall | contin | ue our grac | es to \ wards him."
Macbeth, i. 6. 30.
"I go, I and to | wards three | or four | o'clock."
Rich. III. iii. 5. 101
Compare "Should, like | a swall | ow prey j ing tS \ wards storms."
B. J. Pqetast. iv. 7.
"O' Ihc plague, | he's safe | from think | ing t6 \ 7y«n/ London."
B. J. Alchemist, i, 1.
..i^S^^
VERSES. 397
So, pcihaps,
•'I am I inf6nned ! that he I comes tS \ wards L6ndon.''
3 Hen. VI. iv. 4. 26.
"And t6 1 ward Lon ! don they | do bend | their c6m-se."
l^ich. III. iv. 5. 14.
U'tensils (perhaps).
" He has brave utensils ; for so he calls them."
Temp. iii. 2. 104
WltJieut.—Seo. 457a.
The English tendency, as opposed to the Latin, is illustrated by
the accentuation of the first syllable of "ignominy," and its con-
sequent contraction into ^Ugnomy" (l Hen. IV. v. 4. 100, &c.).
VERSES.
493. A proper Alexandrine with six accents, such as—
"And now | by winds | and waves | my life | less limbs ] are
tossed," — Dryden.
is seldom found in Shakespeare.
494. Apparent Alexandrines. The following are Alexan-
drines only in appearance. The last foot contains, instead of one
extra syllable, two extra syllables, one of which is slurred (see
467-9):—
"The niim I bers of | our host | and make | discSvery (dis-
cov'ry)." — Macbeth, v. 4. 6.
"He thinks | me now | incap | able; | confederates.''^
Tempest, i. 2. 111.
" In vi'r I tue than | in ven | geance : they | hemg penitent,"
lb. V. I. 28.
"And more | divers | it^ [ of sounds | all h(frrtb/e." — 7^.235.
"In bi'tt I erness, | The comm | on (»;r | ectitioner.*'
A. Y. L. iii. 5. 3.
"I see I no more | in you | than in | the (Ordinary." — lb. 42.
" Were rich ] and hon j ourable; ] besides | ihe ghttlemen."
T. G. of V iii. I. 64.
"Which since | have stead | ed much ; | so, of | his gentle-
ness. "—Temp, i. 2. 165 ; Rich. III. v. 3. 245 ; Hen. V.
ii. 2. 71.
For the contraction of "gentleman" to "gentl'man," or evec
"genman," see 461.
398 SHAKESPEARIAN GRAMMAR.
" Are you | not gneved | that A'r J thur is I his prisoner
(468) ? ''—K. J. iii. 4. 123.
"And I' I must free | ly have | the half j of anything.''
M. ofV. iii. 2, 251.
"To mask | thy monst | rous visage. | Seek none | con-
spiracy. "—J. C. ii. I. 81.
"Had he | been vanq | u(i)sher, as, | b^ the ] same cove-
nant.'^ — Hamlet, i. i. 93.
"My lord, | I came j to see | your fa I ther's ftlneral."
lb. i. 2. 176.
"Untaint [ ed, lin ] exam | in'd, free, [ at liberty."
Rich. III. iii. 6. 9.
"And so I doth mine. | I miise | why she's | at liberty."
lb. i. 3. 305.
So, perhaps,
"From too | much li | berty, | my Lu | cio, liberty."
M.forM. 2. 129.
"A'bso I lute Mi | Ian. Me, | poor man, | my library."
Tempest, i. 2. 109.
" Shall see | advant | agea | ble for | our dignity."
Hen. V. V. 2. 88.
unless " ad vintage | able for | ."
495. Sometimes the two syllables are inserted at the end of the
third or fourth foot —
"The flux I of cSmpany. \ Anon | a care | less herd."
A. Y. L. ii. I. 52.
"To call I for recompense ; \ appear | it to | your mind."
Tr. and Cr. iii. 3. 3.
"Is not I so Qsiima \ ble, pro | fita | ble neither."
M. of V. i. 3. 167.
"O'erbears | your o^icers ; \ the rab | ble call | him lord."
Hamlet, iv. 5. 102.
"To me I my iterate, \ hearkens | my broth | er's suit."
Temp. i. 2. 122.
"With all I ^xQXogative. \ Hence his | ambit | ion growing."
lb. i. 2. 105.
** In base | appliance{s) (471). | This out [ ward saint j ed
deputy {A,b%)."—M. for M. iii. i. 89.
'* Than we | bring men | to c6vcfo7't them {' em). \ The fault's |
your own." — Tempest, ii. I. 134-5,
^f^*
VERSES. 399
496. In other cases the appearance of an Alexandrine arises from
the non-observance of contractions —
" I dare | abide | no longer (454). | Whither (466) should I
I ^^1''— Macbeth, iv. 2. 73.
**She le I vell'd at | o\xr ptir \ pose[s) (471), ind, | being {^'jo)
royal."— ^. and C. v. 2. 339.
** All mort I al cSnse \ quence{s) (471) have | pronounced ] me
thus." — Macbeth, v. 3. 5.
** As mis I ers do | by beggars (454) ; | neither (466) gave j
to me."— TV. and Cr. iii. 3. 142.
497. Apparent Alexandrines. The following can be ex-
plained by the omission of unemphatic syllables : —
**Hor. Hail to | your lordship. |
Ham. I am {I'm) glad | to see | you well. "
Hamlet, i. 2. 160.
" Where6f | he is the [his th') head ; | then if | he says | he
loves you." — lb. i. 3. 24.
"Thou art sworn | as deeply | to (/') effect | what we I
miiviA."—Rich. III. iii. I. 158.
"I had thought, | my lord, | to have leam'd | his health |
of you." — Rich. II. ii. 3. 24.
*' That trace him | in his {in's) line. | No boast | ing like
I a iooV— Macbeth, iv. i. 153.
** In seeming | to augment | it wastes [it. Be | advi's'J."
Hen. VIII i. i. 145.
"When mir(a) | cles have | by the great | est been ) denied."
A. W. ii. I. 144.
•* Persuades | me it is {t's) 6th | erwise ; | howe'er | it be."
Rich. III. ii. 2. 29.
" A worth I y 6ff{i)cer \ i* the war, | but in | sol&t."
Coriol. iv. 6. 30.
"I promise | you I' am ('»?) | afraid | to hear | you tell it."
lb. i. 4. 65.
"Come, si's | ter, cousin | I would ^Id) say, | pray par | don
mi."— Rich. II. ii. 2. 105.
" That made | them do it (V). | They are {*re) wise j ana
hon I {^«)rable."— y. C. iii. 2. 218.
" With all I prer6g(a)tive ; j hence his | ambit | ion grow-
ing." — Tempest, i. 2, 105.
•* Mine eyes J even soc | iable | to the show j of thine."
3. v. I. 63.
400 SHAKESPEARIAN GRAMMAR.
" As great | to me j as late ; | ii;<!d^ support [ able."
Temp. V. I. 146
unless " supportable" can be a'^ceuted on the first.
*' Ostentation " is perhaps for ** ostention " (Walker), and "the "
is " th'," in
** The ostentation of our love which, left unshown."
A. and C. iii. 6. 52,
** Is " ought probably to be omitted in
'* With gol I den cheru | bims [is) fretted; | her an | dirons."
Cymb. ii. 4. 88.
" So saucy | with the hand | of she | here — what's | her
name?" — A. and C. iii. 13. 98.
** Come Lam | mas eve | at night | shall ?he be | fourteen."
R. and J. i. 3. 17.
** Of 6ffic(467) I er, (465) and off | ice set | all hearts j in the
{i th') %\.kX.t"— Tempest, i. 2. 84.
**Unc6up I /i?(465) inthe{t' tK)yNi%\. \ em vail | ey,let | them
go."— M N. D. iv. I. 112.
•* Come to I one mark ; | as many | ways meet in \ one
town."— i%;?. V. i. 2. 208.
" Verbatim | to r^h^arse j the meth | od of | my pen."
I Hen. VI. iii. i. 13.
The following is intended to be somewhat irregular :
" Now by I mine hon | our, by | my life, | by my troth."
Rich. II V. 2. 78.
We must probably scan as an ordinary line,
" That seeming j to be most \ which we | indeed | least are,"
T. ofSh. v. 2. 175.
since it rhymes with an ordinary line,
'* Our strength | as weak, | our weak | ness past | compare."
The following can be explained by the quasi-omission of unem-
phatic syllables :
" Away ! | though part | ing be ] a dread | ful c6rr{i7)sive."
2 Hen. VI. iii. 2. 403.
"Corrosive," as in i Hen. VI. iii, 3. 3, is accented on the first,
and here pronounced "corsive."
** But with I a knave | of comm | on hire, [ a g6nd(^)lier. "
Othello, i. I. 126.
** Our '■ is not a dissyllable, but ** ag'd " is a monosyllable in
** But love, I dear love, | and our | ag'd fa | ther's right."
Lear, iv. 4. 28i
VERSES. 401
So perhaps
" An dg'd j inter | preter | though young | in years, "
T. of A. V. 3. 6
498. Alexandrines doubtful. There are several apparent
Alexandrines, in which a shortening of a preposition would reduce
tlie line to an ordinary line. "Upon," for instance, might lose its
prefix, like '"gainst" for "against."
" To look I upOJi my some | time mas | ter's roy [ al face."
Rich. II. ii. 5. 75.
" Forbids | to dwell «/ | on ; yet j remem | ber this."
Rich. III. V. 3. 239.
•* Upon our | house('s) (471) thatch, | whiles a | more frost j y
people."— //m. V. iii. 5. 24.
" Upon the sis | terhood, | the v6 | tarists of | St. Clare."
M. for M. i. 4. 5.
" Brut. "Is like j to lay upon us (on's). |
Cass. I'm glad | that my | weak words."
J. C. i. 2. 176.
'• Is gone I to pray | the ho | ly king | upon his (on's) aid."
Macbeth, iii. 6. 30.
So "to" (or "in," 457^) in "into" may be dropped in
** Fall into \ the com | pass of | a prae' | munire."
Hen. VIII. iii. 2. 340.
"The watches | ominto \ mine eyes | the out | ward watch."
Rich. II V. 4. 52.
(?) " Rather | a ditch | in E'gypt
Be gentle | grave tinto | me. Rather \ on Ni | lus' mud, "
A. and C. v. 2, 58.
"Gentle" is a quasi-monosyllable, see 465 ; "rather," see 466.
So Walker reads "to" for "unto" in
" Unto a poor, | but worth j y gent | leman. | She's
wedded," — Cymb. i. I. 7.
and observes, " Unto and into have elsewhere, I think, taken the
place of to.'^
Perhaps the second line ot the rhyming couplet is purposely
lengthened in
" V am I for the air; | this night | I'll spend
Un'to I a dis I mal and j a fat | al end," — Macb. iii. v. 21.
In " Better to leave undone, than by our deed
Acquire too high a fame when him we serve's away,"
A. and C iii. i. 15
^02 SHAKESPEARIAN GRAMMAR.
we might arrange
" Better leave | undone, | than b;^ | our deed j acquire."
Or the latter line might be (but there is not pause enough to
make it probable) a trimeter couplet. (See SOI.)
** At Ma I rian | a's house | to-ni'ght. | Her cause | and yours,"
M.forM. iv. 3. 145.
must be an Alexandrine, unless in the middle of the line "Mariana"
can be shortened like "Marian," as "Helena" becomes "Helen"
{M. N. D. i. I. 208). Compare
" For Mar | iana's sake : | but as | he adjiidg'd | your brother."
M.forM. V. I. 408.
The following seem pure Alexandrines, or nearly so, if the text
be correct : —
"How dares (499) [ thy harsh | rude tongue | sound this |
unpleas | ing news." — Rich. II. iii. 4. 74.
" Suspic I ion, all [ our lives, | shall be | stuck full | of eyes."
I Hen. IV. V. 2. 8.
" A cher | ry lip, [ a bon | ny eye, [ a pass | ing pleas | ing
\.6r\^&.'" —Rich. III. i. i. 94.
" To the I young R6 | man boy [ she hath sold | me and |
I fall."— ^. and C. iv. 12. 48.
" And these | does she | apply | for vv^arn | ings and | por-
tents."— y. C. iii. I. 23.
This is the Shakespearian accent of "portent" (490), but perhaps
" and" should be omitted,
" Out of I a great | deal of | old fr | on I' | chose forth,"
I Hen. VI i. 2. 101.
It is needless to say that Shakespeare did not write this line,
whether it be read thus or
" Out of I a great deal | of old | iron I' [ chose forth."
In " 'Tis he | that sent | us hith [ er now | to slaugh | ter thee,"
Rich. III. i. 4, 250.
" hither" (466) may be a monosyllable, ana then we can read
" 'Tis he I that sent us | ."
The latter line in the following couplet seems to be an Alex-
andrine :
" Of what I it is | not : then, [ thriee-grac j ious queen,^
More than | your lord's | depart ] ure weep | not : more's
1 not %i&Xi."—Rich. II. ii. 2, 25, v. 4. 110.
VERSES. 4-^3
Sometimes apparent Alexandrines will be reduced to ordinary
hues, if exclamations such as "O," "Well," &c. be considered
(512) as detached syllables.
•* Vol. That they | combine | not there. |
Cor. ( Tusk, tusk !)
Men. A good demand."
Coriol. iii. 2. 45.
*' Coriol. The one | by the other, |
Com. {Well,) I O'n to | the mark j et place."
lb. iii. I. 112.
" Sic. 'Tis he, | 'tis he: | (0,) he's grown ] most kind | of
late."— //J. iv. 6. 11.
" Upon I the Brit | ish party. | (6>,) untime | ly death."
Lear, iv. 6. 25.
In the last two examples " O " might coalesce with the following
vowel. But see also 503 and 512.
499. Apparent Alexandrines are sometimes regular verses of
hve accents preceded or followed by a foot, more or less isolated,
containing one accent.
"(Shall I) With bated breath and whispering humbleness
Say this. || Fair sir, j you spit | on me | on Wed | nesday
last."— v1/. ofV.\.z. 1-26.
** Have I II No friend | will rid | me of | this liv | ing fear?"
Rick. II. V. 4. 2.
The "No" is emphatic, and there is a slight pause after "I,"
" Whip kirn, II Were't twen | ty of | the great | est trib [ u-
taries." — A. and C. iii. 13. 96.
" Come, cSme, 1| No more | of this | unprof | ita | ble chat."
I Hen. IV. iii. i. 63.
" There cannot be those numberless offences
''Gainst me, || that V \ cannot | take peace | with : no |
black en\Y."—Hcn. VIII. ii. i. 85.
" A's you I are cert | ainly | a gen | tleman, || thereto.
Clerk-like | experi | enced,"— ;^. T. i. 2. 391.
*^ Besides, || Hike | you not. | IT you | will know | my house.''
A. Y. L. iii. 5. 74.
'* Which to I deny 1 concerns | more than | avails,
For as 1| thy brat ] hath been | cast out | like to | itself."
W. T. iii. 2. 87.
"So it I should now,
Were there | necess | ity | in your | request, || althSugk
'Twere need ! ful I' | denied it."— /J. i. 2. 22.
D D 2 ■
J04 SHAKESPEARIAN GRAMMAR.
" Making | practis'd J smiles
A's in I a look | ing glass, | and then | to sigh, H as ^tivci-c
The mort | o' the deer."— ^. T. i. 2. 117.
The context might perhaps justify a pause after "well" in
** Flor. To have | them re | compensed | as thought | on.
Cam. Well, || my I6rd.'
W. T. iv. 4. 632.
But better '* To have them (/' have ^em) re | compensed."
** His train | ing such
That he | may fiirn | ish and I instruct | great teachers,
And nev | er seek [ for aid | out of | himself.
II Yet see,'' ^z.—Hen. VIII. i. 2. 114.
" What, girl ! | though grey
Do some | thing ming [ le with | our young | er brown,
II yet hd' zuc
A brain," 8lc.—A. and C. iv. 8. 21.
** A certain number,
Though thanks | to all, | must I | select | from all. (j Tht
rest
Shall bear," | hz.—CorioL i. 6. 81 ; i. 7. 2.
" And the buildings of my fancy.
Only—
There's one thing wanting which I doubt not but."
lb. ii. I. 216.
Collier transposes "only" and "but" to the respectively follow-
ing lines. The lii%e
" So to esteem of us and on our knees we beg,"
ought probably to be arranged thus :
" So to I esteem | of lis, | and on | our knees
We beg I as re I compense | of our | dear services (471J."
W. T. ii. 3. 150.
So " Whom I' I with this ] obe | dient steel, | three inches (471)
of W—Tem/>. ii. I. 283; i.e. " three inch oft."
So transpose " 'tis," i. e. "it is," to the preceding line in
" y\irk. I fear, | I fear, — |
Duih What should j you fear ? | It is
('Tis) Nothing but | some bond | that he j is ent j er'd
{nio."—Rich. II. v. 2. 65.
• I do" must be omitted (456) before "beseech you" in
" (I do) beseech | you, par | don me, | I may | not show it.
lb. 70.
So Cymb. 1. 6. 48.
VERSES. 405
500. Trimeter Couplet. Apparent Alexandrines are often
couplets of two verses of three accents each. They are often thus
printed as two separate short verses in the Folio. But the degree
of separateness between the two vei'ses varies greatly. Thus
perhaps —
** Where it ] may see | itself; 1| this is | not strange | at all,"
Tr. and Cr. iii. 3. 111.
"That has \ he knows [ not what. 1| Nature, | what things |
there 2ixe"—Ib. iii. 3. 127.
And certainly in the following : —
^^ Anne. I would | I knew | thy heart. || Glou. 'Tis fig | ured m ]
my tongue.
Anne. I fear | me both | are false, || Glou. Then nev | er man \
was tnie.
Anne. Well, well, | put up | your sword. II Glou. Say then |
my peace | is made." — Rich. III. i, 2. 193.
** yul. I would I I knew | his mind. II Luc. Peruse I this pa ( per,
madam.
Jul. 'To Ju I lia.' Say, [ from whom? II Luc. That the |
contents | will shew.
Jtd. Say, say, I who gave I it thee?"— Z G. ofV. i. 2. 33-7.
'* Luc. Go to ; I 'tis well; j away! |I Isab. Heaven keep | your
hon I our safe," — M. for M. ii. 2. 156.
^^ Isab. Shall I | attend | your lordship? II A. At an | y time I
'forenoon."—/^. lGO-9 ; ii. 4. 104, 141.
''Ros. The hour | that fools I should ask. Ij B. Now fair | befall 1
your mask.
Ros. Fair fall I the face ] it covers. I| B. And send j you ma | ny
lovers."— Z. L. L. ii. i. 123.
'■'■ Ang. Why dost I thou ask | again? H Prov. Lest I | might
be I too rash.
Prov. Repent I ed o'er | his doom. |I Ang. Go to, I let that I
be mine !
Ang. And you | shall well I be spared. IJ Prov. I crave \ your
hon ! our's pardon." — M. for M. ii. 2. 9-12; Othello, iii. 3.
28-31; Temp. iii. i. 31, 59.
Shakespeare seems to have used this metre mostly for rapid
dialogue and retort. But in the ghost scene in Hamlet :
" GfiGst. To what ] I shall I unfold. I|
HajH. Speak; I' | am bound ( to hear."
Hamlet ^ i, 5. t).
4o6 SHAKESPEARIAN GRAMMAR
501. The trimeter couplet, beside being frequent in dialogue,
is often used by one and the same speaker, but most frequently in
comic, and the lighter kind of serious, poetry. It is appropriate
for Thisbe :
" Most rad [ iant Py \ ramus, H most lil | y-white [ of hi\e."
M. N. D. iii. I. 94, 97.
And for Pistol, when he rants :
** An oath | of mick | le might; l| and fu | ry shall | abate/
Hen. V. ii. i. 70, 44 ; ii. 3. 4, 64 ; v. i. 93.
" He IS I not ve | ry tall : || yet for | his years [ he's tall."
A. V. Z. iii. 5. 118.
" And 'I'll I be sworn | 'tis true: H travell | ers ne'er [ did
lie."— Temp. iii. 2. 26.
" Coy looks I with heart- | sore sighs ; || one fad | ing mo- -
I ment's mirth."— r, G. of V. i. I. 30.
" He would I have giv'n | it y6u,t| but I' | being in | the way
Did in | your name | receive it : \\ pardon | the fault, j 1
pray."— 7/5, 39, 40.
** A free- | stone col | our'd hand ; 1| I ver | ily | did think. "
A. V. L. iv. 3. 25.
" Then let's | make haste | away, |1 and look | unto | the
main."— 2 Hen. VI. i. i. 208.
'• Am I' I not witch'd | like her? H Or thou | not false j
like him?"— 7^. iii. 2. 119.
'* Why ring | not out | the bells || aloud | throughout j the
town?"— I Hen. VI. i. 6. 12.
" As .^'th I iop I ian's tooth, |1 or the | fann'd snow ] that's
bolted."— «^ T. iv. 4. 376.
" This paus | ingly | ensued. 1| Neither | the king | nor's
heirs."— 77^«. F777 i. 2. 168.
'* The monk | might be | deceiv'd ; H and that | 'twas
dang(e) | rous for him."— 7^. 179.
** Anon I expect | him here ; || but if | she be | obdu-
rate (490)." -Rich. III. iii. i. 39.
This metre is often used by the Elizabethan writers in the transla-
lion of quotations, inscriptions, &c. It is used for the inscriptions
the caskets :
** Who choos I eth me | shall gain [[ what man [ y menf
desire.
Who choos j eth me | must give H and haz | ard all [ he
hath."— ilf. of V. ii. 7. 6, 9.
VERSES. 407
In the pause between a comparison and the fact such a couplei
Biay be expected.
" A 's I M.ni I as did
The old I Anchi | sss bear, || so from j the waves j of Tibei
Did r I the tir i ed Cse'sar."— y. C. i. 2. 114.
'' To have | what we | would have, 1. we speak | not what | we
mean." — M. for M. ii. 4. 118.
Sometimes the first trimeter has an extra syllable, which takes the
place of the first syllable of the second trim eter.
" Shall there | by be | the sweets. || Kt.2, \ son thus j with
Xxi^y—M.forM. iii. i. 5.
" Envel I ope you, | good Vxowosi! \\ Who | call'd here | of
late?"— /^. iv. 2. 78.
** Matters I of need I ful valw^. || We | shall write | to you."
lb. i. I. 66.
Sometimes the first trimeter, like the ordinary five-accent verse,
has an extra syllable. In the following examples the two verses are
clearly distinct. They might almost be regarded as separate lines of
three accents rather than as a couplet :
"Hyper | ion to | a satjr. [ So lov | ing to | my mother."
Hamlet, i. 2. 140.
** For end | ing thee | no s6or\er. \\ Thou hast | nor youth j
nor age." — M. for M. iii. i. 32.
*' That I' I am touch'd | with rv\kAness. |i Make not | im-
poss I ible."— /^. V. I. 51. (But ? 494.)
** Ariel. And do | my spirit | ing gent/j/. ||
Prosp. Do so, 1 and after | two days."
Tempest, i. 2. 298.
*' Below 1 their cob | bled shoes. |1
They say ] there's grain j enough,"
Coriol. i. I. 200.
502. The comic trimeter. in the rhyming parts of the
Comedy of Errors and Love's Labour Lost, there is often great irre-
gularity in the trimeter couplet. Many of the feet are trisyllabic,
and one-half of the verse uiifers from the other. Often the first half
is trochaic and the second iambic.
"Ant. E. Wherefore? | for my | dinner : || I have ] not din'd
I to-day."— C. of E. iii. I. 40. •
** A»t. £. T)6 you j hear, you | minion? j| You'll let | us in, *
I hope."— /^. 5i
4o8 SHAKESPEARIAN GRAM2WAR.
In the following, the former half is iambic and the latter
onapczstic :
** Thou wouldst I have chang'd | thy face \\/or a ndnu, j or
thy name \for an ass." — C. of E. iii. I. 47.
And conversely :
** It would make \ a man mad \ as a hick 1| to be | so bought {
and sold. "—/(^. 72.
There are often only five accents.
" Bal. Good meat, sir, | is common : | that e | very churl [
affords.
Ant. E. And welcome | m5re c6mm5n ; | for that | is no-
thing I but words." — lb. iii. I- 24, 25.
Sometimes it is hard to tell whether the verse is trisyllabic with
four accents, or dissyllabic with five.
" Have at | you with j a proverb — | Shall I' | set in | my staff?"
lb. 51.
may be scanned with six accents, but the line to which it rhymes
seems to have four :
** And so I tell your master. | O Lord, | I must laugh,"
lb. 50.
and the following line also :
" Have at you | with another; | that's when | can you tell,"
lb. 52.
and it is therefore possible that we ought to accent thus :
*' Have at you | with a proverb — | Shall I set \ in my staff?"
503. Apparent trimeter couplets. Some apparent trimeter
couplets are really ordinary dramatic lines.
For example, in the last line but two of 501 [M. for M. v. i. 51),
"impossible" may easily be one foot with two superfluous syllables.
It is often a matter of taste which way to scan a line, but it must
be borne in mind, that the trimeter couplet is rarely used to ex-
press intense emotion. Hence in an impassioned address like that
of Henry V. at Harfleur, we should probably read
'* Defy us | to our worst : [ for as | I am | a soldier,"
Hen. V. iii. 3. 5.
or, better (479), "for as 'I'm | a sol | dier."
So "And wel [ come, Somerset; | I hold | it c^wfardice."
3 Hen. VL iv. 2. 7.
^i
FIlR^BS. 409
Or, less probably. ** Somerset " may have two accents and
"cowardice " (470) one.
" Aschil I drenfrom j a bear, | the Vols | ces shunning him."
Coriol. i. 3. 34.
" So tedious/y \ away. | The poor j condem | ned E'nglish."
I/en. V. iv. Prol. 22 1 ; but ib. 28 is a trimeter couplet.
** And hugg'd me \ in his arm | and kind | ly kiss'd I my
c\ieek:'—Rich. III. ii. 2. 24.
" Than that | mix'd in j his cheek. [ 'Twas just | the dif-
f(e)rence."— ^. K Z. iii. 5. 122.
" He is ('s) my broth | er too. | But fitt | er time | for that."
M. for M. V. I. 498.
"And not | the pun(i)sh. | ment; therefore, | indeed | my
iii\iQx.''—M.forM. i. 3. 39.
The following are doubtful, but probably ordinary lines :
" I know hi7n j as w/self, | for from | our in \ fancy."
T. G. of V. ii. 3. 62.
Or "infancy" may have only one accent (467).
" May a | free face, | put on, | derive j a liberty."
W. T. i. 2. 112.
' Either" may be a monosyllable (see 466) in
*' Your sense | pursues | not mine : | either you | are ignoraiit.
M. for M. ii. 4. 74.
" For in I equal(i)ty : j but let | your rea | son serve."
Ib. V. \. 65.
In " Alexas did revolt ; and went to Jewry on
Affairs of Antony," — A. and C. iv. 6. 12.
" on " may be transposed to the second line ; or, considering the
licence attending the use of names and the constant dropping of
prefixes, we might perhaps read "Alexas | did (re)v6lt j ."
In " Calls her | a non j pareil ; | I ne | ver saw | a woman,"
Tei7ip. iii. 2. 108.
though it is against Shakespearian usage to pronounce "non-pareil "
a dissyllable, as in Dorsetshire, "a niinprel apple," yet Caliban
here may be allowed to use this form. I believe " nonp'rel type "
is still a common expression.
Sometimes an exclamation, as "O," gives the appearance of a
trimeter couplet :
" For the | best hope | I have. ] (O,) do not wish \ one
m6xQ."—IIen. V. iv. 3. 33.
See also 498 adfn.
4IO
SHAKESPEARIAN GRAMMAR.
504. The verse with four accents is rarely used by Shake-
speare, except when witches or other extraordinary beings are intro-
duced as speaking. Then he often uses a verse of four accenbi
with rhyme.
"Double, I double, | toil and | trouble,
Fire | burn and | cauldron [ bubble." — Macbeth, iv. i. 20.
The iambic metre in such lines is often interchanged with the
trochaic :
-P 1 • * j "He who I the sword | of heav'n | will bear
iambic Should be | as ho [ ly as | severe :
^ -u • i Pattern | in him | self to | know,
irocnaic j ^^.^^^ ^^ | ^^^^^ ^^^ j ^.^.^^^ j ^^ ,,
M.forM. iii. 2. 274-8.
(The last line means *'he ought to have grace for the purpose of
standing upright, and virtue [for the purpose of] walking in the
straight path." "Go" is often used for "walk." "To" is omitted
before "go.")
Sometimes in the same couplet we find one line iambic and the
other trochaic :
" And here | the mai | den sleep | ing sound
O'n the I dank and | dirty | ground."— J/. N. D. ii. 2. 74-5.
It would be, perhaps, more correct to say that both lines are
trochaic, but in one there is an extra syllable at the beginning, as
well as at the end. So apparently
" This is I he my I master | said,
(De)spised | the A | thenian | maid."— if/. N, D. 72-3 :
but the prefix "de-" might (460) be dropped.
So " (De)spised | in na | tiv | i | t;^
Shall up I on their | children | be." — lb, v. i. 420.
There is difficulty in scanning
" Pretty | soul, she | durst not | lie
Near this lack-love, this kill-courtesy." — lb, 76-7.
It is of course possible that " kill-curt*sy " may have the accent
on the first : but thus we shall have to accent the first " this " anci
"love" with undue emphasis. It is also more in Shakespeare's
manner to give "courtesy" its three syllables at the end of a
line. I therefore scan
" (Near this) lack-love, j this kill | courte | sy."
* The words "iambic " and "trochaic" here and elsewhere refer to accent
aot quantity.
VERSES. 411
Perhaps, however, as in Macbeth, iii. 5, 34, 35, and ? 21, a verse
of five accents is purposely introduced.
505. Lines with four accents are, unless there is a pause m
the middle of the line, very rare. The following, however, seem to
have no more than four accents :
"Let's each | one send | unto | his wife." — T. of Sh. v. 2. 66,
"No worse | than I' | upon some | agreement." — /(^. iv. 4. 33.
"He shall | you find | ready | and willing." — lb. 34.
"The match | is made, | and all | is done." — lb. 46.
"Go fool, I and whom | thou keep'st | command."
lb. ii. I. 259.
Tlie frequent recurrence of these lines in the Taming of the Shrew
will not escape notice.
" And put I yourself J under | his shrowd." (? corrupt.)
A. and C. iii. 13. 71.
" A lad 1 of life, | an imp | of fame."
Hen V. iv. i. 45 (Pistol).
"We knew not
The doc | trine of | ill-doing, | nor dream'd
That any did."— «^. T. i. 2. 70
"Go tell I your cousin | and bring | me word."
I Hen. IV. v. i. 109.
"For aught | I know, | my lord, | they do."
Rich. II. v. I. 53.
But perhaps the lines may be arranged :
" Aum. For aught | I know,
My lord, | they do. |
York. You will I be there, | I know.
Aum. If God I prevent | (it) not, | I purpose [ so."
"With " may be, perhaps (457), transposed to the former of the
following verses, thus :
" With ad I ora | tions, fer | tile te | ars, (480) with
Groans (484) | that thun | der love, | with sighs | of fire."
T. N. i. 5. 274.
But the enumerative character of the verse (509) may justify it as
it stands.
It is difficult to scan
" Lock'd in her monument. She had a prophesying fear,"
A. and C. iv. 14. 120
without making the latter portion a verse of four accents.
412 • SHAKESPEARIAN GRAMMAR.
(Perhaps
"Lock'd in j her m6n(u.) ] merit. She'd | a prophe | sying ih.x^
making "sying" a monosyllable like "being," "doing." See 470.)
"Should from | yond cloud | speak di j vine things."
Coriol. iv. 5. 110.
But I should prefer
" If Jupiter
Should, from | yond cloud, | speak di I vine things | ajid say
* 'Tis true,' — | (507) I'd not | believe I them more
Than thee, | all-no | ble Marcius."
Shakespeare would have written "things divine," not "divine
things" at the end of a verse. (See 419, at end.)
"Is not I muchmiss'd | but with | his friends." — CVrw/. iv. 6. 13.
"Before | the kings | and queens | of France."
I Hen. VI. i. 6. 27.
"And even ] these three j days have | I watch'd."
lb. 1. 4. 16.
"Here through [ this gate | I count | each one." — lb. 60.
" Think not | the king | did ban | ish thee,"
RicJi. II i. 3. 279.
is not found in the Folio, which also varies, ib. i. 3. 323 ; iii. 7. 70.
Perhaps
"They thus | direct | ed, we | will follow
I'n the I main battle | whose puissance | on ei | ther
side."— Rick. Ill v. 3. 298.
(But the second line is harsh, and perhaps part of it ought to
be combined with the first in some way. "Puissance" is a dis-
syllable generally in Shakespeare, except at the end of the line.
T know no instance in Shakespeare where, as in Chaucer,
"battle" is accented on the last. Remembering that ed is often
not pronounced after t and d, we might scan the first line thus, with
three accents :
"They thus | direct(ed), [ we'll follow,")
If "ed" is not pronounced (472) in "divided," that may explain
"The archdea | con hath | divided it." — I Hen. IK iii. 1.72.
The following may seem a verse of four accents :
"Whereas the contrary bringeth bliss." — I Hen. VI v. 5. 64.
But "contrary" is found in Hamlet, iii. 2. 221. And as "country"
(see 477) is three sjdlables^ so, perhaps, "contrary" is four:
VERSES. 413
"Whereas | the cont | (e)rar j y bring j eth bliss."
A verse of four accents is exceedingly discordant in the formal and
artificial speech of Suffolk, in which this hne occurs.
Somewhat similarly, Shakespeare has "cursorary" for "cursory :"
"I have but with a airsorary eye." — Hen. V. v. 2. 77.
In " Anthony Woodville, her brother there," — Rick. III. i. i. 67-
"Woodville" is probably to be pronounced a trisyllable, a semi-
vowel inserting itself between the d and v — " Wood-e-ville." The
e final (see 488) wou^a not be sounded, before "her."
"Valiant" is a trisyllable in
"Young, val | iant, | wise, and | no doubt | right royal."
Rich. III. i. 2. 245.
506. Lines with four accents, where there is an inter-
ruption in the line, are not uncommon. It is obvious that
a syllable or foot may be supplied by a gesture, as beckoning, a
movement of the head to listen, or of the hand to demand attention,
as in
"He's ta'en. | [S/iou^.] \ And hark, | they shout | for joy."
y. C. V. 3. 32.
"Kneel thou | down, Philip. | {Dubs Mm knight.) \ But
rise I more great." — K. J. i. i. 161.
"Marry | to {Enicr O'thello.) \ Come, cap | tain, will |
yovi goT'— Othello, i. 2. 53.
Here, however, as in
"A wise I stout cap | (i)tain, | and soon | persuaded."
3 Hen. VI. iv. 7. 30.
"Our cap I (i)tains, | Macbeth [ and Ban | quo? Yes."
Macbeth, \. 2. 3i.
we may scan
"Marry | to Come, [ cap{i) [ tain, will j you go,"
but very harshly and improbably.
"CVwj. Flatter | ers!" {Turns tS Briiitis.) \ Now,Bru | tus,
thank I yourself."— y. C. v. i. 45.
An interruption may supply the place of the accent :
"And falls | on th' 6th | er {Enter Lddy Macbeth.) \
How now, I Avhat news?" — Macbeth, i. 7. 28.
The interval between two speakers sometimes justifies the
amission of an accent, even in a rhyming passage of regular lines :
414 SHAKESPEARIAN GRAMMAR.
' ' Fairy, Are not | you he ? [ ' Puck, J Thou speak'sl | aright,
I am I that mer | ry wan [ derer of \ the night. "
M. N. D. ii. I. 42.
''Mai. As thou [ didst leave | it. ' Serg. \ Doubtful | it stood.'*
Macbeth, i. 2. 7.
" Cass. Messa | la ! ' Mess. \ What says | my gen | eral?"
J. C. V. I. 70.
"Dun. Who comes | here? ' Mai. \ The worth | y thane | of
Ross." — M eth i. 2. 45.
''Sic. Without I assistance. | | Me}t. I think ( not so.''"
Coriol. iv. 6. 33,
The break caused by the arrival of a new-comer often gives rise
to a verse with four accents.
"Than your | good words. | ] But who | comes here?"
Rich. II. ii. 3. 20.
"Stands for ] my bounty. | ' | But who | comes here?"
lb. 67.
"Against | their will. | ' | But who [ comes | here?"
lb. iii. 3. 19.
So, perhaps, arrange
" High be our thoughts !
I know my uncle York hath power enough
To serve | our turn. | ' | But who | comes here?"
lb. iii. 2. 90.
It is possible that in some of these lines "comes" should be
pronounced "cometh." "Words," "turn," and "will" might be
prolonged by 485, 486.
507, Lines with four accents where there is a change
of thought are not uncommon. In some cases the line is divided
into two of two accents each, or into one line of three accents, and
another of one.
(i) Change of thought from the present to the future :
" Haply I you shall | not see | me more ; | or if,
A mang J led shadow. I ' | Perchance j to-morrow
You'll serve | another | master." — A. and C. iv. ii. 28.
"I'll send I her straight | away. | ' | To-morrow
I'll' to I the wars: I she to | her sing | le sorrow."
A. W. ii. 3. 313.
" Fresh kings ( are come | to Troy. | ' | To-morrow
We must J with all | our main | of power | stand fast."
Tr. and Cr. ii. 2. 272.
VERSE :^. 4^5
(2) From a statement to an appeal, or vice z'ersd .
'•You have I not sought it. I' | How comes | it then?"
I Ilejt. IV. V. I. 27.
I'nless *' comes" is "cometh." See 506 at end.
"Lord of J his reason. | ' | What though i you fled?"
A. and C. iii. 13. 4.
(I do not remember an instance of "re | ason." See, however, 479.)
Perhaps "Come hith | er, count. \' \ Do you {cf you) knSw \
these women?" — A. W, v. 3. 165.
But possibly :
" Come hith | er, cou | nt (486). Do | you know 1 these
women ? "
*' But stay. \ Here comes (Fol.) | the gar | deners."
Rich. II. iii. 4. 24.
("gardeners" may have but one accent.)
^' Never I believe \me.'\ Both are I my kinsmen."
lb. ii. 2. 111.
The pause may account for
"As he 1 would draw it. | ' | Long stay'd | he so."
Hannlet, ii. I. 91.
(As ed is pronounced after i and «, so it might be after y in
"stayed," but the effect would be painful.)
" Which has | no need j of you.
Begone,^'
is the best way of arranging A. and C. iii. ii. 10.
"And leave | eighteen. | ' | Aids, poor | princess."
Cymbeline. ii. I. 61.
"A prfnc I e's courage. | ' | Awdy, \ I prithee."
Cymb. iii. 4. 187.
"Ictus I withdraw. \ ' \ 'Twill be ] a storm."
lear, ii. 4. 290.
(3) Hence after vocatives :
" Titles, I ' I I (am)'m come | to talk | with thee."
T. A. V. 2. 16.
" Gentle \ men, ' \ import | une me | no further."
T. of Sh. i. I. 48.
" Gentle \ men, ' \ that I' | may s6on [ make good." — lb. 74.
^^ Gentle \ men, ' \ content | ye, 'I'm | resolved." — lb. 90.
** Gentle \ men, ' \ will you | go mus [ ter men?"
Rich. II ii. 2. 108
4i6 SHAKESPEARIAN GRAMMAR.
" Gentle I men^ ' \ go mus I ter up | your men."
Rich. II. ii. 2. 118
**Good Mdr \ garit. \ Run | thee to | the parlour."
M. Ado, iii. i. 1.
Either a pause may explain
"But tell I me, ' | is young | George Stan [ ley living?"
Rich. III. v. 5. 9
or •* George " (485) may be a quasi-dissyllable.
508. A foot or syllable can be omitted where there is any
marked pause, whether arising from (i) emotion, (2) antithesis, or
(3) parenthesis, or (4) merely from the introduction of a relative
clause, or even a new statement.
(l) "Were't | my fitness
To let I these hands [ obey | my blood, | — ' |
They're apt | enough | to di's j locate | and tear
Thy flesh | and bones." — lear, iv. 2. 64.
"O' I disloy I al thing
That should'st | repair | my youth, | — ' | thou heap'st
A year's | age on | me." — Cymb. i. i. 132.
There is an intended solemnity in the utterances of the ghosts in
"Let fall I thy lance. | ' | Despair | and die."
Rich. Ill V. 3. 143.
and "Think on | lord Hastings. [ ' | Despair | and die." — 3. 148,
(2) "Scarce an | y joy
Did ev I er so I long live. | ' | No sorrov/
But kill'd I itself | much soon | er."— f^ T. v. 3. 53.
(3) "He quit I his fort | unes here
(Which you | knew great) | ' | and to | the hazard."
3. iii. 2. 169.
(4) "Mark what | I say, | ' | which you | shall find."
M.forM. iv. 3. 130.
Perhaps "Is my kins | man, ' | %vh6m \ the king | hath wrong'd,"
Rich. II ii. 2. 114.
in a very irregular passage, part of which is nearly prose.
"Into I his title | 'which \ the \ we find."
I Hen. IV. iv. 3. 104.
"That she I did give me, | ' ] whose p6 | sy was."
M. of K V. I. 148.
"Call our ! cares fears, I ' | which will | in time."
Ccriol. iii. I. 137.
VERSES, 417
***Tis sure | enough | — an you | knew how."
T. A. iv. I. 95.
A pause may, perhaps, be expected before an oath, as in
"As you I shall ^vo. I th' advice. | B^ | the fire
That quick | ens E | gypt's slime." — A. and C. i. 3. 68.
(But "vice" or "by" may be prolonged.)
"That my I most jeal | ous and | too doubt | ful heart
May live | at peace. | ' j He shall | conceal it."
T. N. iv. 3. 28 ; Macbeth, i. $ 6.
"To watch, I poor perdu !
With this I thin helm. | ' | Mine ene j my's dog,
Though he | had bit | me, should | have stood | that night
Against | my fire." — Lear, iv. 7. 36.
" Last night | 'twas on | mine arm. | ' 1 I kiss'd it."
Cymb. ii. 3. 151,
(Certainly not " I kiss | ed it.")
" Would then | be nothing. | ' | Truths would | be tales."
A. and C. ii. 2. 137.
"Point to I rich ends. | ' | This my | mean task."
Temp. iii. I. 4.
" Must give I us pause (484). | ' | There's the ] respect."
Hamlet, iii. I. 68.
509. Lines with four accents are found where a number
of short clauses or epithets are connected together in one line, and
must be pronounced slowly :
"Earth gapes, hell burns, fiends roar, saints pray."
Rich. III. iv. 4. 75
"Witty, courteous, liberal, full of spirit."
3 Hen. VI. i. 2. 43.
The last line is very difficult. "And," or a pause equal to
"and," after "witty," would remove the difficulty.
It is remarkable that Shakespeare ventures to introduce such
a line even in a rhyming passage :
" Youth, beauty, wisdom, courage, all
That happiness and prime can happy call. "
A. W. ii, I. 184.
"Ho! hearts, | tongues, figures, | scribes, bards, | poets
cannot
Think, speak, \ cast, write, \ sing nilm \ ber, hoi
His love to Antony." — A. and C. iii. 2, 17.
"Is goads, thorns, nettles, tails of wasps," — IV. T. i. 2. 329,
£ £
41 S SHAKESPEARIAN GRAMMAR,
(Here, however, "goads" and "thorns" may be prolonged. See
484, 485.)
"With that I harsh, no | ble, sim | pie — | nothing."
Cymb. iii. 4. 135.
The following occurs amid regular verse :
"These drums! these trumpets! flutes! what."
A. and C. ii. 7. 138.
" When you do dance, I wish you
A wave of the sea, that you might ever do
Nothing I but that ; | move still, | still so. "
W. T. iv. 4. 142.
Here still, which means "always," is remarkably emphatic, and
may, perhaps, be pronounced as a quasi- dissyllable. So " til " is a
monosyllabic foot in Chaucer, C. 71 11 37.
510. Apparent lines of four accents can sometimes be
explained by giving the full pronunciation to contractions, such as
s for et/i, V for ed, HI for will, ''ve for have, H for it, &c. ; or they are
lines of three accents with a detached foot.
''Silv. What'.f (is) | your will? |
Prot. That I' | may com | pass yours."
T. G. of V. iv. 2. 92.
"And were | the king | c;zV (of it), ] what would | I do?"
Temp. ii. I. 145.
"In what I you please. ] 17/ (will) | do what | I can."
lb. iv. 4. 47.
" You've add j ed too \ rth (485) un | to it [ and liistre."
T. of A. i. 2. 154.
" Drive him | to Rd \ me ; V (it) | is time | we twain."
A. and C. i. 4. 73.
" Whence com [ est thou ? | What would [ est thou ? | Thy
name?" — Coriol. iv. 5. 58.
But the pauses between the abrupt questions may be a sufficient
explanation.
"And nier (nev | er) a | true one. | In such | a night."
M. of V. v. I. 148.
The first "a" maybe emphatic, meaning "one." Else 508.
"Our thighs | packV (ed) | with wax, | our mouths | with
honey." — 2 Hen. IV. iv. 5. 77.
" So much I as Ian | V d (ed) not. \ 'Tis pit [ y of him."
A. and C. i. 4. 71.
VERSES. 419
"'s"= "his "in
••Vincent | io | 'j (his) son | brought up | in Florence."
T. of Sk. i. I. 14.
In •' Sal. My lord, I long to hear it at full,"
2 Hen. VI. ii. 2. 6.
"hear" is a dissyllable (485), or •'the" omitted after •'at." Com-
pare "atte" in E, E. for "at the."
I feel confident that ''but would " must be supplied in
" And what poor duty cannot do, noble respect
Takes it in might, not merit," — M. N. D. \. i. 91.
and we must read :
"And what poor duty cannot do, but would.
Noble respect takes not in might bid merit."*
** And, ere our coming, see thou shake the bags
Of hoarding abbots ; imprisoned angels
Set at liberty. The fat ribs of peace
Must by the hungry now be fed upon," — K. y. iii. 3. 8.
ought probably to be arranged :
'• Of hoarding abbots ;
Imprisoned angels set at liberty.
The fat ribs of peace
Must," &c.
Or OValker) invert ** imprisoned angels" and ''set at liberty."
Arrange thus :
• ' Your Coriolanus
Is nSt I much tnhs'd,
Biit with I his friends. \ The com ] monwealth | doth stand,
And so I would do, | were he | more ang | ry at it. "
Coriol. iv. 6. 13.
Similarly
"Most cert \ am. Slst \ er, welcome.
Pray you \ (see 512)
Be ev I er known | to pat \ ience, m^ | dear'st sister."
A. and C. iii. 6. 97.
So arrange
'•That won you without blows.
Despising (499),
For you, the city, thus I turn my back."
Conoi. iii. 3. 133.
• I think I have met with this conjecture in some commentator.
£ E 2
420 SHAKESPEARIAN GRAMMAR.
'* Cd. Look, who [ comes here? [
Silv. My Srr \ and is \ to yoit ;
FairySuth {512), \
My gent I le Phoe' I be bid | me give ] you this."
A. V. L. iv. 3. 6.
** Got ^tween \ asleep \ and wake.
Well, then {S^2),
Legit(i) I mate E'd | gar, I' | must have [ your land."
Lear, i. 2. 15.
' * As pearls \ from dia \ monds drSpfd.
In brief {^w)." — Lear, iv. 3. 24.
Hen. V. ii. Prologue, 32, is corrupt.
*' I live with bread like you :
Feelivant, taste grief, need friends : subjected thus,
How can you say to me I am a king?" — Rich. II. iii. 2. 175.
511. Single lines with two or three accents are fre-
quently interspersed amid the ordinary verses of five accents.
They are, naturally, most frequent at the beginning and end of
a speech.
These lines are often found in passages of soliloquy where passion
is at its height. Thus in the madness of Lear, iv. 6. 112-29, there
are eight lines of three accents, and one of two ; and the passage
terminates in prose. And so perhaps we should arrange
" Would use his heav'n for thunder ; nothing but thunder !
Mercifid heaven (512),
Thou rather with thy sharp and sulphurous bolt
Split'st the unwedgeable and gnarled oak
Than the soft myrtle.
But 77ian, proud man,
Drest in a little brief authority," «S:c. .
M.forM. ii. 2. 110-19,
So in the impassioned speech of Silvius :
" If thou remember'st not the slightest folly
That ever love did make thee run into,
Thou hast not laved,''— A. Y. L. ii. 5. 36.
which is repeated in 1. 39 and 42.
The highest passion of all expresses itself in prose, as in the
fearful frenzy of Othello, iv. i. 34-44, and Lear, iv. 6. 130.
Rarely we have a short line to introduce the subject.
♦' York. Then thus:
Edward the third, my lords, had seven sons."
2 Hefi. VL ii. 2. 9, 10.
VERSES. 42]
** Into his ruin'd ears, and thus deliver :
* Henry Bolingbroke,
On both his knees,' " Sac— Rick. II. iii. 3. 32.
Ross. (So) Tkatnmv^
Sweno, the Norways' king, craves composition."
Macbeth^ i. 2. 59,
*' For Cloten.
There wants no diligence in seeking him." — Cymb. iv. 3. 19.
Sometimes the verse (which is often written as prose in the Folio)
closely resembles prose. It is probable that the letter J. C. ii. 3.
1-10 is verse, the last two words, "thy lover, Artemidorus," being
irregular. So A. V. L. iii. 2. 268-74.
The irregular lines uttered by Cassius, when he is cautiously
revealing the conspiracy to Casca, looking about to see that he is
not overheard, and also pausing to watch the effect of his words on
Casca, are very natural.
' * Unto some monst7'ous state.
Now could I, Casca, name to thee a man
Most like this dreadful night,
That thunders, liglxtens, opens graves, and roars."
y. C. i. 3. 71-74.
It will also not escape notice that "now could I, Casca," and
"that thunders, lightens," are amphibious sections. See 513.
The following pause may be explained by the indignation of
Macduff, which Malcolm observes and digresses to appease :
" Why in that rawness left you wife and child
Without leave-taking?
I pray you (512)
Let not my jealousies be your dishonours."
Macbeth, iv. 3. 28.
A pause is extremely natural before Lear's semi-confession of
infirmity of mind :
*' A'nd, to I deal plainly,
I fear | I am | not in | my perf | ect mind."
Lear, iv. 7. 62.
A stage direction will sometimes explain the introduction of a
short line. The action takes up the space of words, and necessitates
a broken line, thus :
** Macb. This is a sorry sight. [Looking on his hands. 1
Lady M. A foolish thought, to say a sorry sight."
Macbeth, ii. 2. 21
{^z SHAKESPEARIAN GRAMMAR.
Macbeth may be supposed to draw his dagger after the short line :
** As this I which now | I draw." — Macbeth^ ii. i. 41.
So after Lady Macbeth has openly proposed the murder of
Duncan in the words —
*' Oh, never
Shall sun that morrow see " — Macbeth, i. 5. 62.
she pauses to watch the effect of her words till she continues :
" Your face, my thane, is as a book where men," &c.
The irregular lines in the excited narrative of the battle —
*' Like valour's minion, carv'd out his passage
Till he faced the slave " — Macbeth, i. 2. 20 (so ib. 51).
are perhaps explained by the haste and excitement of the speaker.
This is illustrated by
*' Except they meant to bathe in reeking wounds,
Or memorize another Golgotha,
I cannot tell.
But I am faint, my wounds cry out for help.''^
Macbeth, i. 2. 41.
In "As cannons overcharged with double cracks ; tl so they |i
Doubly redoubled strokes upon the foe," — Ib. i. 2. 37.
there may be an instance of a short line. But more probably v,e
must scan ** As cannons | o'ercharged ] ."
Such a short line as
*' Only to herald thee into his sight,
Not pay thee,''— Macbeth, i. 3. 103.
is very doubtful. Read (though somewhat harshly) :
'* On'ly I to her(a)ld (463) | thee in | to 'j sight, | not pay thee."
So ** Let's (us) I away ; | our tears J are not | yet brew'd,"
Macbeth, ii. 3. 129, 130.
and the following lines must be arranged so as to make 1. 132 an
interjectional line.
There is a pause after ** but let " in
" But let—
The frame ( of things { disjoint, | both the [ worlds suffer."
Macbeth, iii. 2. 16 ; iv. 3. 97.
and in the solemn narrative preparatory to the entrance of the Ghost :
** Last night of all,
Wheo. yond same star that's westward from the pole."
Hamlet. \. I. 3u.
VERSES. 4^3
So "And aie upon the Mediterranean flote
Bound sadly home for Naples,
Supposing that they saw the king's ship v reck d
Temp. i. t, 235.
So M. N. D. iii. 2. 49.
** Lastly,
If I do fail in fortune of my choice
Immediately to leave you and be gone." — M.ofV. ii. 9. l4
" Yet I,
A dull and muddy-mettled rascal, peak."
Hamlet, ii. 2. 593
•* I, his sole son, do this same villain send
To heaven.''^ — lb. iii. 3. 78.
In "Dost thou hear?"— 717;//. i. 2. 106.
" thou " is unemphatic, and scarcely pronounced. Or else these
words must be combined with the previous, thus :
** Hence his | ambit ] ion grow [ — ing — Dost | thou hear?'^
512. Interjectional lines. Some irregularities may be ex-
plained by the custom of placing ejaculations, appellations, &c
out of the regular verse (as in Greek <^€0, &c.).
" Yes. I
Has he | affections in him?" — M. for M. iii. i. 107.
** Alack
I love myself. Wherefore? for any good?"
Rich. III. V. 3. 187.
" What,
Are there no posts despatch'd for (480) Ireland?"
Rich. II. ii. 2. 103.
So arrange
*' North. Why?
I's he I not with | the queen ? |
Percy. No, my | good lord."
lb. ii. 3. 612.
** Fie,
There's no such man ; it is impossible."
Othello, iv. 2. 134.
** And such a one do I profess mysdf,
For, sir.
It is as sure as you are Roderigo."
Othello, \. I. 55 ; Lear, 1. i. 50,
424 SHAKESPEARIAN GRAMMA}^.
Perhaps we ought thus to arrange
" 0, sir.
"Vom presence is too bold and peremptory.*
I Hen. IV. i. 3. 17.
This is Shakespeare's accentuation of "peremptory."
** Farnvell. [Exit Banqno.'\
Let every man be master of his time." — Macbeth^ iii. I. 40.
" Sir,
I have upon a high and pleasant hill." — T. of A. i. I. 63.
** Sirrah,
Get thee to Plashy, to my sister Gloucester."
Rich. II. ii. 2. 90.
So Rich. Ill i. 2. 226 ; i. 4. 218.
** Great king.
Few love to hear the sin they love to act." — P. o/T. i. i. 91.
** My dismal scene I needs must act alone.
Come, vial.'''' — R. and J. iv. 3. 20.
** Come, Hastings, help me to my lodging. O !
Poor Clarence.'''' — Rich. III. ii. I. 133.
'' For Hecuba!
What's Hec | uba | to him, | or he ] to Hecuba (469)?"
Hamlet, ii. 2. 584.
* ' If thou hast any sound or use of voice,
Speak to me." — lb. i. I, 129.
So /A 132, 135: and *' vengeance," ib. 610; '' A scullion!'' ib.
616.
So we should read
*' I'll wait upon you instantly. [Exeunt.) [To Flav.] Come hither.
Pray you.
How goes," &C.—T. of A. ii. i. 36.
Similarly ''Nay, more," C. of E. i. I. 16; ''Stay," T. N. iii. i.
149; " Who's there?" Hamlet, i. I. 1; " Begone;' J. C. i. I. 57
" 0, CcEsar," J, C. iii. i. 281; '* Let me work," J. C. ii. i. 209
"Hei-e, cousin," Rich. II iv. i. 182; " Whafs she?" T. N. i. 2. 35
"Draw," Lear, ii. i. 32 ; " Think," Coriol. iii. 3. 49.
So arrange
*• Vid. Hold, II there's half] my coffer. |
Anton. Will you | deny | me now?"
T. N. iii. 4. 38.
"JS?, II I am sat | isfied, j give me | a bowl | of wine."
Rich. Ill V. 3. 72.
VERSES 425
** Ratcliffe^ II about ] the mid , of night | come to | my tent"
Rich. III. 77, 209.
The excitement of Richaid gives rise to several interjectional lines
of this kind in this scene.
A short line sometimes introduces a quotation :
" If Caesar hide himself, shall they not whisper,
Lo, Ccesar is afraid ?"—y. C. ii. 2. 101.
*' Did scowl on gentle Richard. No man cried
* God save him.' "—Rich. II. v. 2. 28.
Perhaps we should arrange as follows :
** He'll spend that kiss
Which is my heaven to have.
CoDie [applying the asp to her bosoTfi]
Thou mortal wretch^
With thy sharp teeth this knot intrinsicate
Of life at once untie." — A. and C. v. 2. 306.
This seems better than scanning the words from "which" to
*' wretch" as one line, either (i) as an ordinary line, with "come,
thou mor | tal wretch," or (2) as a trimeter couplet, making
* ' come " a dissyllable.
So it is better to arrange :
*' Buckingham,
I prithee pardon me
That I have giv'n no answer all this while."
2 Hen. VL v. I. 32
Merely with a special view to mark a solemn pause Shakespeare
writes :
"So, as a painted tyrant Pyrrhus stood.
And, like a neutral to his will and matter,
Did nothing.
But, as we often see," &c. — Hamlet, ii. 2. 604.
Such irregularities are very rare.
" Sirrah,
A word with you. Attend those men our pleasure ?"
is the right way to arrange Maeb. iii. i. 45, 46. Shakespeare could
not possibly (as Globe) make " our pleasure " a detached foot.
The ejaculation seems not a part of the verse in
"Hath seiz'd | the waste | ful king. | [O,] what pit [ y is it"
Rich. II. iii. 4. 55.
426 SHAKESPEARIAN GRAMMAR.
••And he I himself I not present. | [O,] forefend [ it, God !'
Rich. II. iv. I. 129.
See also 498, at end : 503.
513. The Amphibious Section. When a verse consists
of two parts uttered by two speakers, the latter part is
frequently the former part of the following verse, being,
as it were, amphibious — thus :
** S. The E'ng | lish force, [ so please you. ||
M. TAke thy \face hence. |1 Seyton, | I'm sick | at heart."
Macbeth, v. 3. 19.
"J/. News, my | good lord, | from Rome. ||
Ant. Grdtes 7ne: \ the siim.\\
Cleo. Nay, hear | them, A'n | tony."— y^. and C. i. i. 19.
''B. Who's there? |
M. A friend. ||
B. JVhdt, sir, | noty^t \ at rist ? \\ The king's \ abed."
Macbeth, ii. I. 10,
" ICe7tt. This off | ice to you. II
Gent. I' will \ talk fur \ ther with \\you. \\
Kent. No, | do not." — Lear, iii. i. 42.
" Gent. Which twain | have brought I her to.H
Edg. Hail, gent \ le sir. j
Gefit. Sir, speed | you, what's | your will ? "
Lear, iv. 6. 212.
' * Prosp. Against | what should | ensue. Ij ,
Mir. How came \ we ashSre ? \\
Prosp. ' By Pro | vidence | divine."
Temp. i. 2. I08.
' ' Claud. And hug [ it in | my aims. I|
Is. ThSre spake \ my brS \ ther, I| there [ my fa | ther's grave. ''
M.forM. iii. i. 86.
" jE". How fares | the prince? JI
Mess. Well, mdd \ ai7i, and \ in health. \\ Duck. What is [
thy news, then ? "— i^/V/^. III. ii. 4. 40.
^^ Brut. That 6th | er men | begin. ||
Cas. Then leave \ him out. Jl Casca. Indeed | he is [ not fit.'
J. C. ii. I. 153.
Probably—
*' Macb. And break it | to our hope. || Izvill \ not fight \ zviththee.l
Macd. Then yield [ thee, covitix^.'"— Macbeth, v. 8. 22.
VEJRSES. 427
Compare also Ma<bdh, i. 4. 43, 44 ; ii. 3. 75, 101-2; iii. i. 18 19, 2.
12-13, 4. 12, 15, 20, 151 ; J. C. 11. 4. 16, 17 ; Coriol. iii. 2. 6 ;
OM^//^, iii. 3. 282, &c.
In the following instance the first " still " is emphatic :
" Oliv. As howl 1 ing aft | er music. ||
jDu^. Still\socrii\\el!
Oliv. Still I so con | stant, lord."
T. N. V. I. 113.
Sometimes a section will, on the one side, form part of a regular
line, and, on the other, part of a trimeter couplet.
** Hor. Of mine I own eyes. || Mar. Ts it \ n^t like \ the king ||
Hot. As thou | art to | ihyseW —Hamlet, \. i. 58, 59.
" Ophel. In hon | oura | ble fashion. | Pol. Ay, fash \ ion y die I
viay call it. || Go to, go to."— /<5. i. 3. 112.
Ham. No, it | is struck. || Hor. Indeed, \ I heard \ it nSt ; \\
then it | draws near | the season. — lb. i. 4. 4.
In the last example, "indeed," when combined with whsit follows
is a detached interjection (512).
514. Interruptions are sometimes not allowed to inter-
fere with the completeness of the speaker's verse.
This is natural in dialogue, when the interruption comes from a
third person :
** Folon. Pray you | be round | with him. {
[Ham. [JVithin] Mother, mother, mother!)
Queen. I'll war | rant you."
Hamlet, iii. 4. 5, 6.
Or, when a man is bent on continuing what he has to say :
** Ham. Rashly — and that should teach us
There's a divinity that shapes our ends,
Rough-hew them how we will —
{^Hor. That's certain. )
Ham. Up fiom my cabin," &c.
Hamlet, v. 2. 11, 12.
" Shy. This is (461) kind | I offer—
{Bass. This were kindness.)
Shy. This kind | ness will I I show.
M. of V. i. 3. 143.
" King R. Ratcliffe— |
{Rat. My lord.)
King R. The sun [ will not | be seen | to-day.*"'
Rich. III. V. 3. 281.
428 SHAKESPEARIAN GRAMMAR.
** Brutus. Away, [ slight man. |
{Cassius. Is't possible ?)
Brutus. Hear me, | for I' | will tpeak."
y. C. iv. 3. 37, 38.
Or, when a speaker is pouring forth his words, endeavouring to
bi-eak through the obstacle of unintelligence, as Kent trying to make
himself intelligible to the mad Lear :
'^ Kent. No, my | good lord ; | I am | the ver [ y man —
{Lear. I'll see that straight. )
Kent. That from I your first | of dif | ference and ] decay
Have foil | owd your | sad steps, | —
{Lear. You're welcome hither. )
Kent. Nor no [ man else."
i.e. **I and no one else." Then, in despair of making himself
understood, Kent continues :
"All's cheerless, dark, and deadly."
Sometimes the interlocutor's words, or the speaker's continuation,
will complete the line :
*' Ccesar. So much \ as lank | ed not | (Folio has lank'd.)
Lep. "Tis pit | y of him.
Ccesar. Let his [ shames quickly." — A. and C i. 4. 71.
If there are two interlocutors, sometimes either interlocution will
complete the line :
" Gent. Than is | his use. |
Widow. Lord, how ) we lose [ our pains !
Helena. All's well | that ends | well yet."
A. W. V. I. 24, 25.
'^ Bru. Good Marc | ius | home | again. |
Sic, The ve | ry trick on't.
Men. This is I unlikely."
Coriol. iv. 6. 71.
515. Rhyme. Rhyme was often used as an effective termina-
tion at the end of the scene. When the scenery was not changed,
or the arrangements were so defective that the change was not
easily perceptible, it was, perhaps, additionally desirable to mark
that a scene was finished. The rhyme in T. N. ii. 2. 32 is perhaps
a token that the scene once concluded with these lines, and that the
nine lines that follow are a later addition.
Rhyme was also sometimes used in the same conventional way,
to mark an aside, which otherwise the audience might have great
VRRSES. 429
difEculty in knowing to be an aside. Thus, in a scene where there
are no other rhyming Hnes, Queen Margaret is evidently intended
to utter Rich. III. iv. 4. 16, 17 ; 20, 21, as asides, though there is
no notice of it. One of the lines even rhymes with the line of
another speaker :
'* Q. Eliz. When didst thou sleep, when such a deed was
done?
Q. Marg. When holy Harry died, and my sweet son."
Rieh. III. iv. 4. 24, 25.
Queen Margaret does not show herself till line 35, as also in
Rich. III. i. 3. till line 157, though in the latter scene the asides do
not rhyme.
515 a. Prose. Prose is not only used in comic scenes ; it is
adopted for letters {M. of V. iv. i. 149-66), and on other occasions
where it is desirable to lower tlie dramatic pitch : for instance, in the
more colloquial parts of the household scene between Volumnia and
Virgilia, Coriol. i 3, where the scene begins with prose, then passes
into verse, and returns finally to prose. It is also used to express
frenzy, Othello y iv. I. 34-44 ; and madness, Lear, iv. 6. 130 ; and
the higher flights of the imagination, Hawlet^ ii. 2. 310-20.
SIMILE AND METAPHOR.
516. Similarity. — In order to describe an object that has
not been seen we use the description of some object or objects
that have been seen. Thus, to describe a Hon to a person who
had never seen one, we should say that it had something
like a horse's mane, the claws of a cat, &c. We might say,
" A lion is like a monstrous cat with a horse's mane." This
sentence expresses a likeness of things, or a similarity.
517. Simile. — In order to describe some relation that can-
not be seen, e.g. the relation between a ship and the water,
as regards the action of the former upon the latter, to a
landsman who had never seen the sea or a ship, we might
say, " The ship acts upon the water as a plough turns up the
land." In other words, "The relation between the ship and
the sea is similar to the relation between the plough and the
land." This sentence expresses a siinilarity of relations^
and is called a siinile. It is frequently expressed thus :
" As the plough turns up the land, so the ship acts on the
sea."
Def. A Simile is a sentence expressing a similarity of
relations.
Consequently a simile is a kind of rhetorical proportion,
and must, when fully expressed, contain four terms :
A : B :: C : D.
518. Compression of Simile into Metaphor.— A simile is
cumbrous, and better suited for poetry than for prose. More-
over, when a simile has been long in use, there is a tendency
to consider the assimilated relations not merely as similar
but as identical. The simile modestly asserts that the re-
SIMILE AND METAPHOR. 4-,!
lation between the ship and the sea is like ploughing. I'he
compyessed simile goes further, and asserts that the relation
between the ship and the sea is ploughing. It is expressed
thus ; "The ship ploughs the sea."
Thus the relation between the plough and the land is
transferred to the ship and the sea. A simile thus com-
pressed is called a Metaphor, i.e. transference.
Def. A Metaphor is a transference of the relation be-
tween one set of objects to another, for the purpose of
brief explanation.
519. Metaphor fully stated or implied.— A metaphor may
be either fully stated, as " The ship plotighs (or is the plough
of) the sea" or implied, as " The winds are the horses that
draw the plotigh of the sea." In the former case it is dis-
tinctly stated, in the latter implied, that the " plough of the
sea " represents a ship.
520. Implied Metaphor the basis of language.— A great
part of our ordinary language, all that relates to the relations
of invisible things, necessarily consists of implied metaphors ;
for we can only describe invisible relations by means of
visible ones. We are in the habit of assuming the existence
of a certain proportion or analogy between the relations of
the mind and those of the body. This analogy is the
foundation of all words that express mental and moral
qualities. For example, we do not know how a thought
suggests itself suddenly to the mind, but we do know how
an external object makes itself felt by the body. Experience
teaches us that anything which strikes the body makes itself
suddenly felt. Analogy suggests that whatever is suddenly
perceived comes in the same way into contact with the mind.
Hence the simile — "As a stone strikes the body, so a thought
makes itself perceptible to the mind." This simile may be
compressed into the///// metaphor thus, "The thought struck
my mind," or into the implied metaphor thus, " This is a
43^ SHAKESPEARIAN GRAMMAR.
striking thought." In many words that express immaterial
objects the implied metaphor can easily be traced through
the derivation, as in " excellence," " tribulation," " integrity,"
" spotlessness," &c.
N.B. The use of metaphor is well illustrated in words
that describe the effects of sound. Since the sense of hear-
ing (probably in all nations and certainly among the English)
is less powerful and less suggestive of words than the senses
of sight, taste, and touch, the poorer sense is compelled to
borrow a part of its vocabulary from the richer senses.
Thus we talk of " a sweet voice," " a soft whisper," " a sharp
scream," " a piercing shriek," and the Romans used the
expression "a dark-coloured yoicq"* where we should say
"a rough voice."
521. Metaphor expanded.— As every simile can be co7n-
pressed into a metaphor, so, conversely, every metaphor can
be expanded into its simile. The following is the rule for
expansion. It has been seen above that the simile consists
of four terms. In the third term of the simile stands the sub-
ject (" ship," for instance) whose unknown predicated rela-
tion (" action of ship on water ") is to be explained. In
the first term stands the corresponding subject (" plough ")
whose predicated relation ("action on land") is known. In
the second term is the known relation. The fourth term is
the unknown predicated relation which requires explanation.
Thus —
the plough
Known subject.
turns up the land,
Known predicate.
the ship
Subject whose
predicate is
unknown.
acts on the sea.
Unknown
predicate.
Sometimes the fourth term or unknown predicate may re-
present something that has received no name in the lan-
guage. Thus, if we take the words of Hamlet, " In my
mind's eye," the metaphor when expanded would become—
SIMILE AND METAPHOR,
433
As
the body
Known subject.
is enlightened by the
eye.
Known predicate.
the mind
Subject
whose
predicate
is un-
known, i
is enlightened by
a certain percep-
tive faculty
Unknown predi-
cate.
For several centuries there was no word in the Latin
language to describe this " perceptive faculty of the mind."
At last they coined the word " imaginatio," which appears
in English as " imagination." This word is found as early
as Chaucer ; but it is quite conceivable that the English Ian
guage should, like the Latin, have passed through its best
period without any single word to describe the " mind's eye."
522. The details of the expansion will vary according to
the point and purpose of the metaphor. Thus, when Mac-
beth (act iii. sc. i) says that he has " given his eternal
jewel to the common enemy of man," the point of the
metaphor is apparently the pricelessness of a pure soul or
good conscience, and the metaphor might be expanded
thus —
" As a Jewel is precious to the man who wears it, so is
a good conscience precious to the man who possesses it."
But in Rich, II. i. i. 180, the same metaphor is expanded
with reference to the necessity for its safe preservation : —
*' A jewel in a ten-times barr'd-up chest
Is a bold spirit in a loyal breast."
523. Personal Metaphor.— There is a universal desire
among men that visible nature, e.g. mountains, winds, trees,
rivers and the like, should have a power of sympathising with
men. This desire begets a kind of poetical belief that such
a sympathy actually exists. Further, the vocabulary express-
ing the variable moods of man is so much richer than that
which expresses the changes of nature that the latter bor
rows from the former. Hence the 7norn is said to laugh,
mountains to frown^ winds to whisper^ rivulets to prattle
F F
434 SHAKESPEARIAN GRAMMAR,
oaks to sigh. Hence arises what may be called Personal
Metaphor.
Def. A Personal Metaphor is a transference of personal
relations to an impersonal object for the purpose of brief
explanation.
524. Personal Metaphors expanded.— The first term wni
always be "a person;" the second, the predicated relation
properly belonging to the person and improperly trans-
ferred to the impersonal object; the third, the impersonal
object. Thus —
" As a person frowns, so an overhanging mountain (looks
gloomy).
" As a child prattles, so a brook (makes a ceaseless cheerful
clatter)."
525. Personifications. — Men are liable to certain feelings,
such as shame, fear, repentance and the like, which seem
not to be originated by the person^ but to come upon him
from without. For this reason such impersonal feelings are
in some languages represented by impersonal verbs. In
Latin these verbs are numerous, " pudet," " piget," " taedet,"
"poenitet," "libet," &c. In Early English they were still
more numerous, and even now we retain not dnly " it
snows," "it rains," but also (though more rarely) "me-
thinks," "meseems," " it shames me," " it repents me." Men
are, however, not contented with separating their feelings
from their own person; they also feel a desire to account
for them. For this purpose they have often imagined as the
causes of their feelings, Personal Beings, such as Hope, Fear,
Faith, &c. Hence arose what may be called Personification.
In later times men have ceased to believe in the personal
existence of Hope and Fear, Graces and nymphs, Flora
and Boreas ; but poets still use Personification, for the pur-
pose of setting before us with greater vividness the invisible
operations of the human mind and the slow and impercep-
tible processes of inanimate nature.
SIMILE AND METAPHOR. 435
Def. Personification is the creation of a fictitious
Person in order to account for unaccountable results, or
for the purpose of vivid illustration.
526. Personifications cannot be expanded.— The pro-
cess of expansion into simile can be performed in the case
of a Personal Metaphor, because there is implied a com-
parison between a Person and an impersonal object. But
the process cannot be performed where (as in Personifi-
cations) the impersonal object has no material existence, but
is the mere creation of the fancy, and presents no point
of comparison. " A frowning mountain " can be expanded,
because there is implied a comparison between a moun-
tain and a person, a gloom and a frown. But "frowning
Wrath" cannot be expanded, because there is no com-
parison.
It is the essence of a metaphor that it should be literally
false, as in " a frowning mountain." It is the essence of a
personification that, though founded on imagination, it is
conceived to be literally true, as in " pale fear," " dark dis-
honour." A painter would represent " death" as " pale," and
" dishonour" as " dark," though he would not represent a
" mountain" with a " frown," or a " ship" like a " plough."
527. Apparent Exception.— The only case where a simile
is involved and an expansion is possible is where a person,
as for instance Mars, the God of War, is represented as
doing something which he is not imagined to do hterally.
Thus the phrase " Mars mows down his foes " is not literally
true. No painter would represent Mars (^though he would
Time) with a scythe. It is therefore a metaphor and, as
such, capable of expansion thus : —
" As easily as a haymaker mows down the grass, so easily
does Mars cut down his foes with his sword."
But the phrase " Mars slays his foes" is, from a poet's cr
painter's point of view, literally true. It is therefore no
metaphor, and cannot be expanded.
436 SHAKESPEARIAN GRAMMAR.
528. Personification analysed.— Though we cannot ex-
pand a Personification into a simile, we can explain the
details of it. The same analogy which leads men to find a
correspondence between visible and invisible objects leads
them also to find a similarity between cause and effect.
This belief, which is embodied in the line —
" Who drives fat oxen should himself be fat,"
is the basis of all Personification. Since fear makes mer
look pale, and dishonour gives a dark and scowling expres-
sion to the face, it is inferred that Fear is " pale," and Dis-
honour " dark." And in the same way Famine is " gaunt ;**
Jealousy " green-eyed ;" Faith " pure-eyed ;" Hope " white-
handed."
529. Good and bad Metaphors.— There are certain laws
regulating the formation and employment of metaphors
which should be borne in mind.
{\^ A metaphor must not be used unless it is needed for
explanation or vividness^ or to throw light upon the thought
of the speaker. Thus the speech of the Gardener, Rich. II.
iii. 4. 33,—
"Go then, and like an executioner
Cut off the heads of our fast-growing sprays, " &c.
is inappropriate to the character of the speaker, and conveys
an allusion instead of an explanation. It illustrates what is
familiar by what is unfamiliar, and can only be justified by
the fact that the gardener is thinking of the disordered con-
dition of the kingdom of England and the necessity of a
powerful king to repress unruly subjects.
(2.) A fnetaphor must not enter too much into detail: for
every additional detail increases the improbability that the
correspondence of the whole comparison can be sustained.
Thus, if King Richard {Rich. II. v. 5. 50) had been content,
while musing on the manner in which he could count time
by his sighs, to say —
"For now hath Time made me his numbering clock,"
SIMILE AND METAPHOR.
437
there woald have been little or no offence against taste.
But ^^hen he continues —
" My thoughts are minutes, and with sighs they jar
Their watches on unto mine eyes, the outward watch.
Whereto my finger, like a dial's point,
Is pointing still, in cleansing them from tears.
Now, sir, the sound that tells what hour it is
Are clamorous groans which strike upon my heart,
Which is the bell,"—
we have an excess of detail which is only justified because it
illustrates the character of one who is always " studying to
compare,"* and "hammering out" unnatural comparisons.
(3.) A metaphor must not be far-fetched nor dwell upon
the details of a disgusting picture :
** Here lay Duncan,
His silver skin laced with his golden blood ;
there the murderers
Steep'd in the colours of their trade, their daggers
Unmannei'ly breech'' d with gore.'^ — Macbeth, ii. 3. 117.
There is but little, and that far-fetched, similarity between
gold lace and bloody or between bloody daggers and breecKd
legs. The slightness of the similarity, recalling the greatness
of the dissimilarity, disgusts us with the attempted compari-
son. Language so forced is only appropriate in the mouth of
a conscious murderer dissembling guilt.
(4.) Two metaphors must not be confused together^ par-
ticularly if the action of the one is inconsistent with the
action of the other.
It may be pardonable to surround^ as it were, one meta-
phor with another. Thus, fear may be compared to an ague-
fit, and an ague-fit passing away may be compared to the
overblowing of a storm. Hence, " This ague-fit of fear is
overblown " {Rich. II. iii. 2. 190) is justifiable. But
** Was the hope drunk
Wherein you dressed yourself? Hath it slept since ?"
Macbeth, 1. 7. 36.
• " I have been studying how I vtay compare
This prison where I live unto the world ;
* « ♦ ♦ Jt
I cannot do it ; yet I'll hammer it out."— Rick. It. v. 5. 1.
438 SHAKESPEARIAN GRAMMAR.
is, apart from the context, objectionable : for it makes Hope
a person and a dress in the same breath. It may, however,
probably be justified on the supposition that Lady Macbeth
is playing on her husband's previous expression —
* * I have bought
Golden opinions from all sorts of people,
Which would be worn now in their newest gloss,
Not cast aside so soon."
(5.) A metaphor mtist be wholly false ^ and must not com-
bine truth with falsehood.
" A king is the pilot of the state," is a good metaphor.
" A careful captain is the pilot of his ship," is a bad one. So
" Ere my tongue
Shall wound mine honour with such feeble wrong,
Or sound so base a parle," — Rich. II. i. i. 190.
is objectionable. The tongue, though it cannot "wound,"
can touch. It would have been better that " honour's " enemy
should be intangible, that thereby the proportion and the per-
fection of the falsehood might be sustained. Honour can be
wounded intangibly by " slander's venom'd spear " {Rich. II.
i. 1. 171) ; but, in a metaphor, not so well by the tangible
tongue. The same objection applies to
"Ten thousand bloody crowns of mothers' sons
Shall ill-become the flower of England's face,
Change the complexion of her maid-pale peace
To scarlet indignation, and bedew
Her pastures' grass with faithful English blood. "
Rich. IL iii. 3. ^Q.
If England is to be personified, it is England's blood, not
the blood of ten thousand mothers, which will stain her face.
There is also a confusion between the blood which mantles
in a blush and which is shed ; and, in the last line, instead
of "England's face," we come down to the literal "pas-
tures' grass."
(6.) Personifications must be regulated by the laws of
personahty. No other rule can be laid down. But ex-
aggerations like the following: must be avoided : —
SIMILE AND METAPHOR. 439
** Comets, importing change of times and states,
Brandish your crystal tresses in the sky,
And with them scourge the bad revolting stars."
I Hen. VL i. i. 2.
The Furies may be supposed to scourge their prostrate
victims with their snaky hair, and comets have been
before now regarded as scourges in the hand of God.
But the liveliest fancy would be tasked to imagine the
stars in revolt, and scourged back into obedience by the
crystal hair of comets.
NOTES AND QUESTIONS.*
MACBETH, Act III.
Scene i
LINE
3, *' Thou play dsi most foully for't." Expand the metaphor into
its simile. (Grammar, 521.)
14. "And fl//-thing unbecoming." See "All" (Grammar). What
is there remarkable in this use of all ? Com p. iii. 2. 11 —
** Things without all remedy."
15. " A solemn supper." Modernize. Trace the present meaning
from the derivation. Compare
** A solemn hunting is in hand." — T. A. ii. i. 112.
17. "To the which. " What is the antecedent to the which ? Why
do we say the which, but never the who ? (Grammar,
"Which," 270.)
25. " TTie better." When do we add the to a comparative ? (Gram-
mar, 94.) Can the be explained here?
44. "^M^then." (See 137.) Compare
" He shall conceal it
, Whiles you are willing it shall come to note."
T. N. iv. 3. 29.
Illustrate from Greek and Latin.
49. "To be thus thus is nothing but to be safely this." Explain the
grammatical construction of the last clause. (See 385.)
51. " Which would be feared. " Modernize would. Explain (Gram-
mar, 329) the Elizabethan usage.
" 'Tis much he dares. " Is there any object to "he dares " ? ( 244. )
• The numbers refer to the paragraphs of the Grammar.
%
NOTES AND QUESTIONS. 441
LINE
52. "And to that dauntless temper of his mind." Meaning of?
(See Grammar, "To.")
54, "None bict he." Illustrate this construction by Shakespeare's
use of except. (See Grammar, "But.")
56. "... And, under him,
My genius is rebuked ; as, it is said,
Mark Antony's was by Caesar."
See A. and C. ii. 3. 20 — 30. Trace the meaning of
genius from its derivation.
65. "For Banquo's issue have 1 filed my spirit." Meaning of?
Give similar instances of the dropping of the prefix. (See
Prosody, 460.)
72. " Champion me to the utterance," Meaning of? Trace the
meaning of champion and utterance from the derivation.
What historical inference may be drawn from the fact that
both these words are derived from the French? Mention a
similar inference contained in the dialogue between Gurth
and Wamba in " Ivanhoe."
75. " So //<faj-<? your highness." Parse //,?aj-^. (See 297.)
81. "How you were borne in hand, howcross'd, the instruments."
Is this an Alexandrine ? (See Prosody, 468 ; and compare
" My books and instruments shall be my company."
T. ofSh. i. I. 82.)
"Like labour with the rest, where the other instruments."
Coriol. i. I. 104.
" /. But now thou seem'st a coward.
P' Hence, vile instrument." — Cynib. iii. 4, 75.
' ' Borne in hand. " Meaning ?
"The Duke
Bore many gentlemen, myself being one,
In hand and hope of action." — M. for M. i. 4. 52.
We do not now say "to bear in hope," but "to keep a
person in hope, suspense," &c. So a rich hypocrite,
pretending illness to squeeze presents out of his expectant
legatees, is said to —
" Look upon their kmdness, and take more
And look on that, still bearing them in hand.
Letting the cherry knock against their lips."
B. J. FoXy i. I. init.
442 SHAKESPEARIAN GRAMMAR.
We still say, to "bear in mind," but we generally v\se "a
hand " in this sense.
83. "To half a soul and to a notion crazed," Meaning of notion
here ? Compare
' ' His notion weakens, his discernings
Are lethargied." — Lear, i. 4. 248.
Trace the double meaning of the word from the derivation.
84. ^^ M. Say 'Thus did Banquo.' Murd. You made it known
to us." Scan. (See 454.)
87. "Your patience so predominant in your nature." Scan.
88. " Are you j-<? gospell'd to pray for this good man. " Modernize.
(See 282.)
91. "J/. And beggar'd yours for ever. Murd. We are men, mv
liege." Scan.
95. "The valued file.'''' Trace this and other meanings of file
from the derivation. Explain the meaning and use of
valued (374). Could we say "a valued catalogue?"
99. " The gift which bounteous nature hath in him closed.''^ Parse
closed. (See 460.) Compare
" Dance, sing, and in a well-mixed border
Close this new brother of our order." — Rowley.
What is now the difference between " I have him caught,"
and " I have caught him " ? Compare
"And when they had this done."— 6"/. Luke v. 6.
100, " Particular zMxWoxs. from the bill that writes them all alike."
Meaning ai from? (See Prepositions.)
103. " Not in the worst rank of manhood, say't." Scan. (See 485.)
108. " Who wear our health but sickly in his lite
Which in his death were perfect. Murd. I am one, my
liege. "
What is the antecedent to tuhich ? Scan the second line.
112. "So weary with disasters, tugg'd with fortune." Parse and
explain tugg'd. How does the meaning differ from the
modem meaning? Compare
NOTES AND QUESTIONS. 443
LINE
** Both tugging to be victors, breast to breast^
3 Hen. VI. ii. 5. 12.
and, tor the construction :
'* And, toiVd with works of war, retired himself
To Italy."— i^zV/4. //. iv. i. 96.
113. "That I would set my life on any chance." Expand the
metaphor. Compare
** Who sets me else ? By heaven I'll throw at all."
Rich. II. iv. I. 57.
116. "And in such bloody distance.
That every minute of his being thrusts
Against my near'st of life."
Expand the metaphor. What is meant by "my near'st 0/
life?'' Illustrate by " home- thrust, " and oIkcIos.
120. "And bid my will avouch it." Trace the meaning from tiie
derivation.
121. "7^i7r certain friends," Meaning of _/^r here? How did y^r
become a conjunction ?
122. "Whose loves I may not drop." What is the meaning of
may ? Derive the modem from the original meaning.
123. " But wail his fall
Who I myself struck down."
What is the antecedent to who ? What is there remarkable in
the sentence? (Gram. 274.)
127. " Perform what you command us. First Murd. Though our
lives—"
What do you suppose the First Murderer intended to say ?
Why did Macbeth interrupt him ?
128. " Your spirits shine through you. Within this hour at most"
Scan.
130 "The perfect spyoi the time." Apparently in this difficult pas-
sage spy is put for " that which is spied," " knowledge. "
132. "Always thought." Parse thought. Illustrate the construc-
tion from Greek.*
** From the palace." From, how used ?
* Liddell and Scott : boKih, ii. 4.
444 SHAKESPEARIAN GRAMMAR.
LINE
138, "I'll come to you anon. We are resolved, my lord.",
Perhaps "t'you anon" is to be considered as one foot.
If not, how can this verse be scanned? (See 500.) What
is the emphatic word in the Murderer's reply?
Scene 2.
3. ** Say to the king, I would attend his leisure.''^ Modernize the
latter words. Trace the different meanings of attend from
the derivation. What is the exact meaning of would ?
9. " Lady M. 'Tis safer to be that which we destroy
Than by destruction dwell in doubtful joy.
Enter Macbeth.
How now, my lord ! Why do you keep alone ?"
Illustrate the character of Lady Macbeth from her words
before and after the entrance of her husband. Why and
when, for the most part, does Shakespeare use rhyme ?
II. "With them they think on. Things without all remedy."
Scan. What is the object oi on? (See 242.) How is dt/i
used?
16. **But let the frame of things disjoint, both the worlds suffer."
Perhaps a pause is intended after "let:" "But let — yes,
even the frame," &c. In that case "But let " is an un-
finished verse, and the rest is a complete verse. In the
Fol. 1623 the first line ends with "disjoint," containing
four accents. When does Shakespeare use verses with^^r
accents (505-9)?
19. "That shake us nightly; better be with the dead." Scan.
How can you justify an accent on the first syllable in the
foot "better?"
21. " Than on the torture of the mind to lie
In restless ecstasy. Duncan is in his grave. "
What suggested the expression " to lie on the torture of the
mind"? Trace this, as well as the modem, meaning ol
ecstasy from the derivation. Compare
* * Where violent sorrow seems
A modern ecstasy." — Macbeth^ iv. 3. 170.
NOTES AND QUESTIONS. 445
UKB
Give instances of classical words restricted in meaning b)
modem, compared with Elizabethan, usage. (See Introduc-
tion.) Scan the latter line.
27. ** Gentle my lord." Explain and illustrate the position of my.
(See 13.)
29. " Be bright and jovial among your guests to-night. " Trace the
meaning from the derivation. Give words similarly derived.
Scan.
30. "Let your remembrance apply to Banquo." Scan. (See Pro-
sody, 477.)
3S. "Nature's copy." Meaning of ? Comp. 7! iV! i. 5. 257 :
" 'Tis beauty truly blent whose red and white
Nature's own sweet and cunning hand laid on."
40. " Ere the bat hath flown
His cloister' d flight.''^
What is alluded to ?
42. *^T\iQ shard-borne hQeilt." Shard \s. scale. Ben Jorson talks of
" scaly beetles with their habergeons. " And in Cymb. ill
2. 20, "The sharded beetle " is opposed to ''i\\e full-
winged eagle. "
46. '■^Seeling night." To j^<?/ was "to close the eyelids of hawks
partially or entirely by passing a fine thread through them ;
siller, Fr. This was done to hawks till they became
tractable. " — Nares.
48. " Cancel and tear to pieces that great bond. " Comp, J?ich. III.
iv. 4. 77 : " Cancel his bond of life." Macbeth iv. i. 99 :
" Shall live the lease of nature." And —
" Through her wounds doth fly
Life's lasting date from <:««(r^//V destiny. " — R. of L,
Explain the meaning of the expression here, and trace the
meaning of cancel from the derivation.
54. " Hold />^^^ still. " Modernize. (See 20.)
Scene 3.
3, 4. " To the direction just." Meaning of to? (See 187.)
5, " Now spurs the /a/.?^ traveller apace." Modernize. lUuEtratc
by similar instances the shortening of the word.
446 SHAKESPEARIAN GRAMMAR.
LINK
lo. "Within the no^e of expectation." This may perhaps mean,
" the memorandum or list of expected guests. " Compare
"I come by noie." — M. of V. iii. 2. 140.
"That's out of my note."— W. T. iv. 3. 49.
Otherwise it may mean "the boundary," "limit."
Compare
"Within the prospect of belief." — Macbeth^ i. 3. 74.
Scene 4.
I. " Sit down : at first
Arid last the hearty welcome. "
Compare i Hen. VI. v. 5. 102 :
" Ay grief I fear me both at first and last ^^
Meaning of? What distinction is now made between y^/'j/
and at first, last and at last ?
5. "Our hostess keeps her state, but in best time
We will require her welcome. "
Show, from the antithesis implied in but, what is meant by
** keeping her state." Compare
" The king caused the queene to keepe the estate, and
then sate the ambassadors and ladies, as they were
marshalled by the king, who would not sit, but walked
from place to place making cheare." — Holinshed,
quoted by Clark artd WRIGHT.
The "state " was used technically to mean "a canopy."
II. " Be large in mirth." Modernize. Illustrate from largess.
12. "The table round. There's blood upon thy face. M. 'Tis
Banquo's then." What name has been given, and why, to
this arrangement of the parts of verses? Compare lines 15,
20, 51, 69, which are similarly arranged. (See Prosody,
513-)
13. "'Tis better thee without than he within." Meaning? Com-
ment on the syntax. (See 206, 212.)
23. * * As broad and general as the casing air. " Compare 2 Hen. VI,
V. 2. 43 :
" Now let \hQ general trumpet blow his blast"
34.
NOTES AND QUESTIONS. 447
Meaning of general ? Modernize. What is the difference
between ** general," "universal," and "common"?
" The feast is sold
That is not often vouch'd, while 'tis a-making,
'Tis given with welcome : to feed were best at home."
Analyse the sentence, and show the confusion of two con-
structions. Whence arose the use of a, as in a-making f
(See 140. ) Scan the last line.
36. "/V^zw thence." Meaning of? (See 158.)
42. " Who may I rather challenge for unkindness." Is whc
always used for whom ? Whence arises the difference
between mayy in ^^ may I chall^yige," as here, and " I may
challenge " ?
57. "You shall offend him." Modernize. What is the present
rule for the use of shall with respect to the second and
third persons ? How did the rule arise ? (See 317.)
61. " This is the very painting of your fear." Modernize. Trace
from the derivation the Elizabethan meaning, and hence
the modern meaning, as in " His very dog deserted him."
64. "Impostors to true fear." Meaning of to ? (See 187.)
66. ** Authorized hy h^r gxz.ndi2im.'^ Compare for the accent—
" His madness so with his authorized youth." — Z. C. 15.
*' Authorizing thy trespass with compare." — Sonn. 35.*
75. " Ere human statutes purged the gentle weal." How is gentle
used ? If the zueal was already gentle, how did it require
to be purged f
79. * * The times have been
That, when the brains were out, the man would die. "
Modernize that. Illustrate this use. (See 284.)
81. "With twenty mortal murders on their crowns. " Why ttocnty ?
(See above, line 27.)
87. "To those that know me. Come, love and health to all. " Scan
this and the previous line.
* Neither of these passages is conclusive, as authorize comin^r at the beginning
of the verse may have the accent on the first syllable. Add therefore :
" His mdsn«6s so with his authorized yowdx." — L. C. 15.
448 SHAKESPEARIAN GRAMMAR.
LINE
91. * We thirst." Thirst is not used elsewhere by Shakespeare tu
the sense of ** drinking a health." [? "first."]
95. "Thou hast no speculation in those eyes." Illustrate from
this use of speculation the general difference between the
Elizabethan and the modern use of classical words.
(See Introduction.)
98. *^ Ojily." Probably transposed. (See Grammar, 420.)
99 "What man i/ar^." V^\\y not dares ? Compare
" Let him that is no coward
But ^ar^ maintain." — i Hen. VI. ii. 4. 32.
{Dare occurs thus three times in the unhistorical plays, dares
thirty times. In the historical plays dare eight, dares seven
times.)
105. "If trembling I inhabit, then protest me," No other instance
has been given where inhabit means "linger at home."
Shakespeare may, however, have derived this use of the
word from otKou/Jeij/ (" to be a stay-at-home" as opposed
to "going out to war") through ^q^tyC^ Plutarch, 190 :—
" The home-tarriers and house-doves," &c.
Trace this and the modem ^meaning oi protest from the
derivation. Comp. M. Ado, v. i. 149 :
" I \i\^,. protest your cowardice."
106. "The baby oj a girl." Baby was sometimes used for " doll : "
"And now you cry for't
As children do for babies back again."
B. and F. (Halliwell).
109. "You have displaced the mirth, broke the good meeting."
What is heie contrary to common usage? (See 343.)
112. " You make me strange
Even to the disposition that I orveJ'^
Comp. C. ofE. ii. 2. 151 :
" As strange unto your town as to your talk."
Owe is frequently used for ow{e)n, as ope for open. Comp.
debeo from de and habeo.
1 22. Why does not Lady Macbeth continue her expostulations when
she is alone with her husband ?
N-QTES AND QUESTIONS. ^9
LINE
124. " Augurs and understood rW<z//(7;zj." Comp, below, iv, 3, 173:
** O, relation
Too nice, and yet too true."
The utterances of birds are apparently called relations.
iz6. " WJiat is the night?" Illustrate this use of what. (See 252.)
129. "Did you send to him, sirV^ Why does Shakespeare here
make Lady Macbeth thus address her husband ?
133. " And betimes I will to the weird sisters." This line must pro-
bably be scanned by pronouncing weird as two syllables.
(See Prosody. ) In the Folio weird is spelt weyard. Comp.
ii. I. 20 :
" I dreamt last night of the three weird sisters."
538. '■^ Returning y^Qxt. as tedious as go o'er." Parse returning 2^^A.
go.
141, " You lack the season of all natures, sleep." Illustrate from this
and other passages the practical and unimaginative cha-
racter of Lady Macbeth, as contrasted with her husband.
Compare with this v. i. Compare also ii. 2. 67 : "A little
water clears us of this deed;" and v. i. 35: *'Yet
here's a spot," and, in the same scene, "What, will these
hands ne'er be clean ?" In what sense may such lines as
ii. 2. 67, iii. 4. 141, be called specimens of "irony"?
Compare also Duncan speaking of the first {not of the
second) Thane of Cawdor :
"There's no art
To find the mind's construction in the face.
He was a gentleman on whom I built
An absolute trust." — i. 4. 11.
In the same scene, 1. 58, Duncan says of Macbeth, "It is
a peerless kinsman."
Other instances of Shakespearian "irony" may be found
in Rich. III. iii. 2. 67 ; Coriol. iii. i. 19 ; i Hen. IV.
ii. 4. 528, compared with 2 Hen. IV. v. 5. 51 ; A. and C.
i. 2. 32, compared with 3. v. 2. 330, T. of A. i. 2. 92,
Rich. Ill i. 2. 112, and lb. iv. i. 82 ; Macbeth, ii 3.
97-100, and lb. v. 2. 22 ; Rich. III. iii. i. 110.
r, G
450 SHAKESPEARIAN GRAMMAR
Scene 5.
tlH<C
1. Why does Shakespeare make the witches speak in a different
metre from the rest of the play ? Illustrate from the Mid-
summer Night's Dreatn and the Tempest.
7. ^* Close contriver of all harms." Meaning of close? Comp^
Cy??ib. iii. 5. 85 : *' Close villain, I'll have thy secret."
II, *' All you have done
Hath been but for a wayward son.^''
Illustrate this from Lady Macbeth's description of her
husband, i. 5. Contrast the character of Macbeth with
that of Richard HI.
24. ' ' There hangs a vaporous dxo^ profound. " Perhaps mysterious.
32. "And you all know security
Is mortals' chiefest enemy."
Trace the modern meaning of security from the derivation.
What does it mean here? Illustrate from Milton's Allegro.
Scene 6.
2. ** Only I say." Probably transposed as above.
4. " Was pitiod of Macbeth." Modernize. Account for this use
oiof.
8. ** Who cannot want the thought how monstrous. " Scan. (See
Prosody, 477.) Compare, for the meaning of tvant,
W. T. iii. 2. 55.
19. ** I think . . . they should find." Modernize. Explain the
difference between the Elizabethan and the modern should,
(See 326.)
"y^«V please heaven." Explain a«V. (See loi.)
t\. '* Heyb//'^ his presence." Comp. I^ar, ii, 4, 143 .
** I cannot think my sister in the least
Would yaz7 her obligation."
How '\%fail now used when it takes an object after it ?
27. *' Received of the most pious Edward." (See line 4.)
NO TES AND Q UES TIONS. 45 »
LINF
30. ** Is gone to pray the holy king upon his aid." Unless it can
be shown that upon is sometimes used for 07t, this line, as
it stands, is an Alexandrine.
^5. "Free from our feasts and banquets bloody knives. " Comp.
Timon of A. v. I. :
**Rid me these villains from your companies."
Also perhaps Tempest, Epilogue : " Prayer which frees all
faults."
36, ** Do faithful >^(7wa^<f." Trace the modem and ancient mean-
ing from the derivation.
38. ** Hath so exasperate the king." Why is the d omitted? (See
343-)
40. " And with an absolute ' Sir, not I.'" Compare "an absolute
'shall.'" — Coriol. \\\. I. Also, ** an a^^jt'/?//'^ and excellent
horse." — Hen. V. iii. 7; "I am absohite 'twas ver)*
Cloten." — Cymb. iv. 2. Trace the different meanings frou3
the derivation.
42. 'Mr who should say." (See it'i.)
G G 2
INDEX TO THE QUOTATIONS
FROM SHAKESPEARE'S PLAYS.
TJte references are to the numbered paragraphs, and to the scenes and lines cf tfu
< Globe" edition.
Ref fences marked thus (+) will not be found quoted in the paragraph referred
to, but similar references will be f mind explaining tfie difficulty of the reference in
question.
References in parentheses thus (6) refer to the explattaiory notes at the end oj
the play.
ALL'S WELL THAT ENDS WELL.
Act
I.
Sc.
Line Par.
Sc.
Line Par.
Act IV
Sc. Line
«■ 7
Par.
. 172
ii.
192
73
. 379
. . 87
iv.
7 .[3^
' 1374
Sc
i.
Line
20 .
Par.
88
i. 94
• 477
iii.
131
. 177
iv.
15 - • 336
i.
21 .
202
ii. 29
407
iii.
142
. 480
iv.
27 . . 218
iL
21 .
247
129
iii. 71
. 368
iii.
156
. 271
iv.
29 . .484
ii.
30 •
ui. 107
• 372
iii.
168
• 470
iv.
30 . 4I9«
iii.
9 •
489
iii. 208
• 445
iii.
179
. s68
V.
43 • • 477
iii.
114 .
400
iii. 221
• 279
iii.
185
• 490
V.
48 . . 191
iii.
116 .
400
iii. 224
. 81
iii.
223
. 64
V.
58. . I
iii.
158 .
434
iii.
261
. 208
V.
98 . . 335
iii.
285 .
301
Act
11.
iii.
289
• 489
V.
103 . . 175
iii.
298.
40«
i. 6
.4.8
iii.
313
• 507
V.
104 . igSrt:
iii.
299 .
357
i. 60
• 9.7
vi.
24 . . 278
( 76
I 98
. 468
Act in.
vi.
27 . . 12
iv.
30 •
1 191
i. no
. 462
i
5 • -485
vi.
109 . . 405
V.
46.
2ia
L III
p. 16
ii.
108 . . 434
vi.
115 . . 2C»
V.
55 •
87
i. 124
• • 434
ii.
III . 468
vi.
117 . . 243
i. 134
• • 349
iv.
1. .(99
J33»
^'ii.
30 . . I2S
Act V
j. 144
. . 497
vii.
31 . . 492
i. 163
• • 473
iv.
« . .312
vii.
32 . . 363
', '•
24 .
SM
L tS4
. . 509
! i-
6
. . ao3
vii.
70 . . 127
, i.
25 •
5M
iSA
INDEX
Sc.
Line Par.
Sc
Line
Par.
Sc.
Line
Par.
Sc. Line
Pai
iii.
iii.
I
4
. 172
• 45
iii.
79 •
,48
(2SO
iii.
iii.
123 .
134 •
. 466
• 145
iii. 198 .
iii. aoi .
• 943
. 05
iii.
27
• 315
iii.
8s .
. 294
iii.
165.
• 507
iii. 220 .
• 434
in.
47
• 376
iii.
86 .
• 277
iii.
181 .
• 152
iii. 237 .
• M5
si:.
48
• 492
iu.
"3 •
. 226
iii.
184.
.484
ANTONY AND CLEOPATRA.
Act I.
19 . .
27 . .
31 • •
43
56. .
62 . .
38. .
IIS . .
127 . .
iii.
41
iii.
48
iii.
55
iii.
68
iii.
73
iii.
79
iii.
95
iii.
97
iii.
100
iv.
6
iv.
20
iT.
39
• SI3
. 469
• 443
. 128
. 193
• 177
. 12
• 337
. 252
'1347
. 244
• 434
. 191
.263
. 12
•I368
. 412
. 290
• 508
• 363
• 472
• 384
• 293
• 430
• 469
. 198
• 433
iv.
42
. . 302
ii.
129 .
• 364
iv.
iv.
43
44
• • 374
. .460
ii.
137 .
111
iv.
46
• 33
ii.
144 .
• 331
iv.
71
(174
••(510
C514
ii.
ii.
160 .
169.
. 89
• 17
iv.
73
1484
'1510
ii.
ii.
192 .
215 .
. 179
• 430
v.
7
. .482
ii.
226 .
.326
v.
17
. . 479
iii.
22 .
. 24
v.
21
.469
iii.
26 .
. 168
V.
33
• 490
iu.
36.
. lC6
V.
59
(298
■\45i
iv.
V.
2 .
21 .
. 203
• 339
V.
26 .
.484
Act
IL
V.
27 .
• 477
V.
38.
. 484
i.
8
. 178
V.
44 .
. 25
i.
20
.469
V.
78.
. 3S4
i.
24 .
• 492
V.
94 .
• 133
i.
31 .
. 405
V.
106 ,
• 13
i.
38.
• 434
vi.
30.
. 158
i.
48 .
• 492
vi.
38.
. 46c
i.
51 •
. 204
vi.
60 .
• 405
ii.
25 .
.364
vi.
78 .
• 236
ii
30 .
. 404
vi.
86 .
. 382
ii
53 •
. Ill
vii.
18 .
. 290
ii.
79 .
.360
vii.
29 .
. 221
ii.
99 •
I
vii.
83.
• 385
ii.
124 .
. 423
vii.
122 -
• zH
134
138
Act III.
9'
S09
15 .
f208
1498
33 •
• 434
35 .
• 405
17 •
• 509
29 .
. 492
14 .
. 210
15 •
•484
31 .
.285
28 .
. 166
30 .
. 404
31 .
.468
52 .
.49:
76.
. n
97 .
. 510
28 ,
• 477
40
. 460
50
.478
3
. 400
10
5<^7
48
. 724
53
f200
»220
54 .
.460
S8.
.326
68.
• 459
INDEX.
455
Line
12
36
4
6
10
27
47
71
xiii. 77
xiii. 96
xiii. 98
xiii. 99
xiii. 138
xiii. 196
Xll.
xiii.
xiii.
xiii.
xiii.
xiii.
xiii.
Par.
• 377
• 315
. 507
.478
• 294
.381
. 485
• 505
. 372
. 499
f2II
'1497
. 132
. 290
• 472
Act IV.
14
34
484
356
vL
vii.
vii.
viii.
viii.
viii.
viiL
viii
Line
3 •
7 •
27 .
28 .
3 •
12 .
Par.
. 420
. 241
I 64
•I387
• 507
. 482
.480
• 31S
• 503
I 92
• 423
. 344
. 212
• 364
. 484
. 499
. 166
419^
Sc.
Xll.
xiv.
xiv.
xiv.
xiv.
xiv.
xr.
Line
9
Par.
.469
I
. . 124
I
. . 76
48
.498
19
• 435
22
. 243
72
• 494
120
;470
■1505
133
. 230
59
. 241
Act
V.
2
• 477
3
• 315
21
. 20
27
. 126
V-
• 193
Sc.
Line
Par
i.
47 •
. 442
i.
48.
. 449
i.
51 •
. 414
i.
58.
• 397
i.
68 .
• 315
i.
69.
• 30
ii.
S8.
.498
ii.
85 .
. 291
ii.
103 .
. 126
ii.
140 .
• 377
ii.
166 .
• 451
ii.
216 .
.338
ii.
225 .
. 290
ii.
236.
I422
ii.
240 .
• 430
ii.
291 .
• 364
ii.
306 .
• 512
ii.
339 •
f47a
"149 6
AS YOU LIKE IT.
Act
L
li. 121 .
•t359
iii.
75 •
76.
117 .
.+281
ii.
13
• 477
i. 2
i. 3
i. 20
1. 46
. 85
• 399
. 198
. 208
ii. 134 .
ii. 165 .
.+269
.t244
.t29S
iii.
iii.
iii.
. +69
. 81
.287
iii.
iii.
iii.
7 •
8 .
.+281
. (2)
• 414
'• ©
. 232
ii. 196 .
ii. 220 .
4223
. (i)
iii.
iii.
118 .
122 .
. 202
• 455
iii.
©
.+494
1. 115
.+356
ii. 240 .
4322
iii.
124 .
.t226
iii.
.+232
i. 121
. 87
ii. 254 .
. 90
Act 11
iii.
42 .
• 403
i. 129
i. 134
. 81
• 315
«•{$}
•+494
i.
6 .
.t490
. "3
iii.
iii.
50 .
58 .
.I406
• 341
i- 139
. 196
ii. 272 .
. + 136
8 .
.+272
iii.
69.
. 331
i. 154
.t230
ii. 278 .
. (2)
33 .
. 270
iv.
10 .
.+406
I 172
.t206
ii. 279 .
. 216
49 •
• tsoi
iv.
35 •
457a
ii 6
4291
iii- 35 •
. (3)
i.
52 '
. 495
|36)
ii 30
• 1196
iii. 44 .
.465
i-
5
.tsoo
iv.
. 5^1
« {^
•t347
- fc)
.+a87
ii.
• 433
iv.
40 .
•^343
456
mD£.X.
Sc.
Line Par.
Sc.
Line Par.
Sc.
I/ine
Par.
Sc.
Line Par.
iv.
44 . -178
vii.
172 . ,t356
iii.
SI
. . 64
iii.
53 • -+49^
iv.
© • -
vii.
vii.
193 . . 490
196 . . 467
iv.
{^^}
. 260
iii.
7^- lt456
iv.
iv.
69 . .484
75 • • 40.3
vii.
{;?^}- -^-3
V,
v.
3
5
. 494
. 291
iii.
iii.
88 . . 478
no . .t264
iv.
5 . .+364
Act in.
V.
6
. 120
iii.
117 . . 326
V.
i.
i.
2 . .202
4 . .380
18 . . (5)
- • -u
V.
{Is}
/260
• -1264
iii.
iii.
119 . • "5
123 . .+494
V.
26 . .t244
i.
V.
16
■+103
iii.
124 . . 460
v.
33 • •ti37
V.
42
. 494
iii.
132 . . 264
V.
34 . .200
ii.
V.
48
• 440
iii.
150 . .+161
v.
vi.
36 . . t3
u . • t59
ii.
u '^-
V.
V.
49
S3
.458
. 247
iii.
C^J}- -'5.3
vii.
vii.
1 . .299
3 . . +38
ii.
ii.
33 . . (6)
50 . . 125
V.
V.
60
61
•t405
.t20I
Act V.
vii.
4 . .178
ii.
54 . -teg
V.
62
. 356
ii.
3 . .+378
vii.
31 . . 2
ii.
62 . . tii
V.
74
• 499
ii.
7 . .+225
vii.
48 . .196
ii.
100 . . ts
V.
94
.t287
ii.
88 . . 483
vii.
52 . . 83
ii.
127 . . ti9
V.
T18
. 501
ii.
91-94. .+500
vii.
68 . . +89
ii.
144 . . ?T-
*
122
.+494
ii.
no . . 356
vii.
73 . . (4)
ii.
147 . . 492
Act
IV.
ii.
115 . .t274
vii.
vii.
75 • .t287
83 . .t456
ii.
■^- -{i;^
i.
7
. (9)
iii.
iv.
15 . . +81
5 • .+490
vii.
^ ' {\lt^
ii.
ii.
163 . . 443
182 . . 328
i.
8
. . (i)
iv.
Q- • -'
vii.
rii.
vii.
96 . . 467
99 • -+474
lOI . . (l)
ii.
ii.
ii.
ii.
187 . .+284
188 . . 271
196 . .+193
236 . .ti94
i.
i.
i.
iii.
52 .
60 .
100
6
.ti70
.t372
.t243
. S^o
. + 178
iv.
iv.
iv.
iv.
56 . . 174
63 . .+221
72 . .+113
io8-. . +93
vii.
104 . . 100
ii.
261 . .+329
iii.
ID
iv.
125 . ,+469
vii.
119 . . 270
ii.
268-74 . 511
iii.
12
. 115
iv.
140 . .+189
vii.
132. . 4
ii.
269 . 20, «.
iii.
16
.382
.+457
.501
. 430
iv.
150 . .+474
vii.
vii.
vii.
139 . . 407
143 • •t47i
{;:3- • =3
ii.
ii.
ii.
320-2 . . (7)
330 . .t274
362 . . (8)
iii
iii.
iii.
21
25
34
iv.
iv.
iv.
167 . . 400
170 . .+403
171 . • J54
vii
159 • • 90
ii.
411 . . 224
iii.
36
.1468
iv.
178 . la
vii.
{;§}• '''3
iii.
iii.
3 . . 92
10 . . 294
iii.
{^°}
. 412
iv.
iv.
201 . ts^s
218 . . 367
(i) Folio, ''and.
•
(2) Compare i
V. I.
20.
(3) H
imlet
i. 2. 182
(4) "Wearer's"
for " weary." (s) '
^Ich. III. i.
2. 217.
(6) See i. 2. 52
7) Ric/i. II. v.
5.55.
(8) lb. V
.1. 2».
ru) Ma
cbetK
iv. 3. 17P
INDEX.
457
COMEDY OF EERORS,
Act I
Sc. Line
Par.
Sc. Line Par.
1 Sc. Line Par
Sc. Line Fur.
ii. 180 .
. 158
i. 39 . . 3^9
i. 79 . . 484
i i6 . . 512
i- 33 • • 216
Act III.
i. 60 . . 466
i. (>S . . 456
i. 138 . . 4'7
i< 153 . . 178
i. 39 . . 480
L 7 .
.382
i. 95 . . 480
i. 170 . . 24
L 52 . . 280
.502
ii. 7 . . 406
i. 181 . . 29
i. 53 • • 271
i. 64 . . 434
i. 40.
i. 47 .
. 502
. 502
"■{Js}- -^^
i. 196 . . 469
i. 198 . . 2i6
i. 85 . . 251
i. 50 .
. 502
iv. 3 . . 460
i. 222 . . 467
i. 86 . . 202
iv. (id . .226
i. 51 .
. 502
i. 230 . . 270
i. 105 . .344
i. 52 .
. 502
iv. 152 . . 329
i. 268 . . i9(=
i. i5t . . 453
»• 54 •
. 502
i. 28? . . 34c
ii. 2 . . 49c
i. 72 .
. 502
Act V.
i. 283 . . 244
ii. 37 . . 2»',j
i. 74 .
• 430
i. 308 . . 344
ii. 42 . . '«,7
i. 90.
• 57
I. 10 . . 20
i- 313 • • 343
ii. 46 . . 344
ii. 30 .
• '75
i. II . . 354
»• 357 . • 471
Act II.
ii. 186 .
• 422
i. 25 . . 349
i- 358 . . 477
i- 33 • . "
i. 46 . . 490
i. 360 . . 477
»• 43-45- • 75
Act IV.
I 22
i. 69 . . 333
i. 379 . . 299
ii. 153 • . 263
i. 12 .
.361
CORIO
I430
LANUS.
i. 388 . . 343
Act I.
i. 108 .
. 419
i. 200 . . 501
i. 251 . figSA
'■ ■«• -^^
i. 115.
•+497
i. 201 . .+467
i. 255 . . 49a
i. 118 .
.+512
i. 207 . . 470
ft^f'
i. 37 . .+252
• 1- 123 .
.t287
i. 209 . . 24
i. 256.hf,4
i. 40 . . 420
i. 74 • 4467
i. 124.
i. 126 .
.t46o
.t=64
i. ..5 .fp-a
1+512
i. 263 . . 356
i. 75 . . 486
1. 83 . . 95
i. 144 .
i. 158.
.287
.+202
i. 217 . .+107
i. 218 . . 472
i. =,,.{tp-..
I. 98 \ (,)
•. lOI . .t420
i. 159 .
• 477 .
i. 220 . . 484
■■ ^'^ •{%:)'
i. 179 .
i. 193 .
• 244
.+171
i. 223 . . 3S6 !
i. 230 . . 458
1. 283 . . t30
ii. 2 . i\'^^'
1+295
\. 102 . . 442
i. 195 .
.t32I
i. 231 . .+244
i. 197.
•tsoi
i. 236 . . 206
ii. 4 . . 12
^ - • {}:S
i. 198 .
• 471
i. 247 . . 386
ii. 14 . . 48fi
i. 199 .
. 290 j
i. 248 . .+468
U. 82 . .t49<J
458
INDEX
Sc
Line
24 .
3c •
31 •
22 .
30 •
3a .
34 •
40 .
44 .
46 .
65 .
69 . .{
72
92
Li 30/
36 .
Par.
. 29
•+513
.+512
.t322
. 296
• 4^
■ 503
420
+494
469
400
46
36
+182
+329
+231
122 .
• 144
2 .
.480
6 .
•+497
8 .
.+500
9 •
.460
12 .
• 294
23 •
.+156
42 .
• 474
43 .
• 343
57 •
.+187
58 .
•t457
6 .
. 486
£}•
. 232
3 •
•+451
16 .
(.35
/SO)
+283
+107
i2I7»
V462
+494
64
+513
Sc.
vi.
Vll.
vii.
viii.
viii,
ix.
Line
55 •
Par.
.+423
IX.
70 . .t200
72 . .t28s
81 . 499
2 . .499
• +512
• tsoo
• 430
• 374
. 492
• 477
. 219
•+497
• 484
•tSxi
. 458
• (5)
. 458
6
7 •
8 .
6 .
7 •
17 •
36.
43 •
45 .
50 .
52 .
55 •
57 .
58 . .+497
78 . .+315
83 . . 484
13 . • 134
19 . . 468
30 • -+5"
33 • 4315
Act II.
. 274
. 407
. (6;
r (7)
l+P- 13
1390
•+379
• (i)
•+343
• 430
105
143
152
180
Sc. Line
i. 18S .
i. 202 .
i. 216 .
i. 222 .
!• 235 .
i. 244 .
i. 257 .
i. 262 .
i. 269 ,
i. 284 .
ii. 16 .
"■ »
ii. 29 .
ii. 30 .
»• 35 .
ii. 41 .
ii. 44 .
ii. 80 .
ii. 85 .
li. 93 .
ii. 98 .
ii. 100 .
ii. 107 .
117
11. 129
ii. 136
©■
111. 107
Par.
•+458
. 182
• 499
.t22I
. 286
• + 414
•+35O
. 187
.+497
.+469
•+399
/ 361
\ 408
. 384
. (8)
.+442
. 174
/+218
\ (9)
• 463
. 182
I 77
. 20
• 312
• 45
•+243
• do)
. 480
• 419
.(11)
• 57
. 270
• 244
• 145
.(12)
■ (i)
■ 56
+ 1
Sc. Line
iii. no .
iii. 128 .
iii. 131 .
iii. 147 .
iii. 157 .
iii. 163 .
iii. 167 .
iii. 183 .
iii. 184 .
iii. 190 .
iii. 192 .
iii. 214 .
iii. 216 .
iii. 231 .
'"■{31}-
iii. 238 .
iii. 242 .
iii. 244 .
iii. 757 .
iii. 259 .
iii. 262 .
iii. 263 .
iii. 266 .
iii. 268 .
Par.
.t40l
. 456
.+462
• 404
.|30
I40S
• 343
•+494
• 470
.+281
. + 198
.+492
• 27
• 175
• 383
• 431
• 471
•456
141
•+349
• 23
. 290
.+500
• 63
. 162
• + 159
• 5'2
Act III.
TO . .ti5i
II . .+295
•+223
■+159
■- 471
■+4t7
316
23
33
35
70
94
96
• 470
AiS9
INDEX.
459
Sc. Line Pat.
i. loi . . 492
Sc. Line Paa.
ii. 44 . • "
Act IV.
Sc. Line Par.
Sc. Line Par
vi. 13 . • 5"5
vi. 30 • • 497
L 103 . .+376
ii. 50 . .+287
i. 3 . • 295
vL 33 . • 506
i. 112 . . 498
u. 51 • • 290
i. ft). .333
vi. 34 . • 219
i. 122 . . 262
i. 137 • • 508
f tl2
I. 144 • \+5oi
u. 52 . • 204
ii. 54. .48s
i. 12 . . 476
i. 14 . -+494
i. 21 . . 319
vi. 35 • . 4i»
VI. 39 • .+244
vi. 40 . iU^?
i. 146 . .+243
ii. 55 . • 279
i. 27 . .+495
vi. 45 • • 440
i. 161 . .+150
ii. 71 • • 54
i. 47 . • 143
vi. 53 . • 348
i-CS- ■"■■^
ii. 75 • • 453
ii. 76 . .+494
i. S3. . 78
i. 55 . • 87
vi. 63 . . 51
vi. 68 . .+473
i. 170 . . 4"
il. 81 . . 470
ii. 2 . . 410
vi. &. . 5.4
i. 195 . • 476
ii. 83 . . 216
ii. 5. .+MO ^ ^3. . 9
i. 202 . .+513
ii. 91 • -^^SQ
ii. 13 . .+287
vi. 79 • .+513
i. 206 . . (13)
u. los . . 278
ii. 31 . .+342
vi. 8s . . 492
i. 208 . -+136
u. 116 . .+365
ii. 36 . .+513
vi. 103 . .+251
i, 315 . • 476
ii. 119 . . 264
ii. 125 . . 316
ii. 138 . .+512
ii. 142 . .+513
iii. 2 . .+467
iii. 4 • • 382
U. 48 . • 188
vi. 104 . .+505
i. 221 . .+494
i. 235 . .+ 500
i. 251 . -+466
i. 259 . -+399
(14)
iu. 9 • .-1295
iii. 13 • .+335
iii. 48 . .(13)
v. 14 . .(.5)
V. 58 . . 510
V. 63 . .+349
vi.{-}. .36.
vi. 118 . . 486
vi. 131 . • 164
vi. 139 • .+5^3
vi. 148 . / 215
1+469
vii. 4 . • 9"
i, 280 . • 484
ui. 8 . .+494
V. 98 . . 287
vii. 8 . . +"
i. 298 . +ii8a
iii. 19 . . 202
v. 99 . .+285
vii. • 14 • . 479
i. 301 . .+242
f478
1- 3" . -VSs
iii. 49 • • 512
iii. 62 . . 63
v. no . . 505
v. 113 • .+203
V". 40 . \ %^
iii. 67 . . 482
V. 133 • • 187
vii. 41 . .+136
i. 319 • • 343
iii. 87 . . 475
v. 149 • . 484
vii. 51 . .490
i. 327 • • 492
iii. 93 . • 151
V. 156 . .+344
vii. 57 . .+473
i. 329 . .+469
iii. 96 . .+113
v. 157 . • 460
Act V.
i. 334 . • 480
iii. 97 • • 54
V. 174 • . .82
- ''{%
iii. 104 . . 430
V. 197 . •'^' 6^
i. 3. .+468
1 .^\
iii. 122 . . 471
^^ ' i ;. \l\' . 290
ii. 12 . .+129
iii. 124 . .+442
V. 203 . . 181
\yjj
ii. 26 . . 468
V. 205 . . +90
1. 34 . • 434
(+500
ill 127 . •457'*
V. 214 . .+430
i. 39 . -+506
u. 39. ] "■■
it494
iii. .33.(1?:
vi. n . . 498
i. 46 . +280
4-60
Sc
i.
i.
fi.
INDEX.
luins
54 .
II.
lii.
tii.
iii.
i8
22
41
6S
77
89
90
95
4
l7l
Par.
. 471
.(17)
•t494
• 13
.458
.t92
.183
.(15)
.+212
• 294
. ti6
.ti5i
• 479
•t279
. 290
Sc. Line
67 .
82 .
95 .
96.
100 .
105 .
108 .
"5 •
121 .
125 .
Par.
.+161 -
. 490
Sc.
iii.
iii.
Line
.t442
iii.
154 •
.469
iii.
iii.
170 .
186 .
tp.13
• 423
.t490
iii.
iii.
iv.
189.
192 .
39 •
.+349
iv.
55 .
. 479
iv.
64.
.+494
vi.
4 •
.478
vi.
5 .
. 455
vi.
II .
.482
vi.
15 .
Par.
.+278
• 457
•t497
. 460
.419/1
. ti
•483
. 492
.+469
• 143
. 238
. 208
• t440
. 166
Sc
Line
a-
23 •
35 •
40 .
41 .
43 •
44 .
61 .
69.
71 •
78.
lOI .
Pai.
+249
•+494
.+448
. 29c
.+495
.+285
. 227
.+513
. 462
•+479
. 420
. 480
tp^i3
•+457
(i) Folio, "and."
(4) Otfiello, i. 2. 22.
(7;See^.r. X. ii. 2. 8.
(10) Hamlet, i. 1. 162.
(12) M. of V. i. I. 98.
(14) Folio, "appeared."
(16) y. C. iii. 3. 22
(2) M.forM.
(5)^. andC.
(8) Hamlet
iv. 6. 13. (3) 7. C. iii. 2. 16.
i. 4. 40. (6) See above, i. i. 272.
, V. 2. 96. (9) M. of V. iv. 1. 406.
(11) Conversely, rHen. VI. v. 4. 7-
(13) Te77ipest, i. 2. 200. Ref.
(15) 7. C. iv. 3. 138.
(17) 3 Hen. VI. iii. 2. 46
CYMBELINE.
Act L
iv.
36. -382
v^ 44 • • 356
vi.
209 . . I
i. 34 . . 81
iv.
39 • • 405
vi. 6 . . 3^4
Act IL
i. 48 • • 465
iv.
S3 . • 427
vi. 8 . . 337
i.
61 . . 507
i. 6s . . 279
iv.
loi . . 434
vi. 36 . . 375
iii.
24 . . 247
i. 72 . . 466
iv.
112 . . 90
vi. 40 . . 224
iii.
29 . I
i. 96 . . 473
iv.
118 . . 189
vi. 48 • • 499
iii.
59 . . 297
i. 105 . . 244
i. 124 . . 382
iv.
V.
125 . . 368
9 . .467
vi. 59. {%
iii.
iii.
68 . . 13
80 . . 76
i. 132 . . 508
V.
10 . . 484
vi. 66 . . 290
iii.
loi . .419^
i, 168 . . 465
V.
17 • . 370
vi. 84 . . 244
iii.
III . . 148
iii. 7 • -453
V.
25 . • 93
vi. 116 . . 8
iii
151 . . 508
•ii. 29 . . 224
V.
28 . . 478
vi. 117 . . 247
'=3- -^^
tv. 16 . . 158
V.
32 . . 212
vi.(Fol.)i47. 340
111.
iv. 17 • • 412
V.
41 • • 93
vi. 164 . . 18
iv.
15 4>4
INDEX.
461
Sc.
Line
Par.
iv.
57
• 336
IT.
83
Act ]
• 497
II.
i.
38
• 357
i.
73
. 356
ii.
65
. 429
ii.
79
•faS
iii.
27
• 333
iii
71
. . 144
iii.
99
.336
xii.
102
. . 198
iii.
(Fol.)
103. 340
iii.
85
. 226
iv.
135
. 509
iv.
143
.t335
iv.
144
. 12
T.
148
•(Si
iv.
153
. 465
iv.
160
. 228
iv.
187
• 507
V.
21
• 343
V.
32
. . 220
V.
58
. . 368
V.
71
.285
V.
83
. . 45
Sc. J-'ne Par.
V. 148 . . 290
vi. 17 . . 143
vi. 19 . .351
vi. ai . . 336
vi. 25 . . 351
vi. 42 . . 301
vL 48 . . 360
vi. 63 . . 295
vi. 70 . . 126
vi. 92 . . 174
Act IV.
i. 16 . . 256
ii. 26 . . 476
ii- 35 • • 333
(2Q5
ii. 47 . .^,296
U"
ii. 54 . . 453
ii. 66 . . 347
ii. 76 . . 274
ii. 97 . . 16
ii. 129 . . 151
ii. 146 . . 47
(89
11. 190 . .^347
M73
ii. 207 . . 86
ii. 223 . . 246
Sc.
Line
ii. 229 .
ii. 233 .
ii. 252 .
ii. 254 .
ii. 283 .
ii- 331 .
ii- 347 •
ii- 371 -
ii- 373 -
ii. 9 .
111.
13 • .
15 - ■
19 . .
20 . .
21 . .
6 . ,
IS . .
23 . .
35 . .
48. .
Act V.
8 . ,
22 . ,
m. 45 -
iv. 60 .
iv. 120 .
iv. 147 .
Par.
435
, 215
, 12
■ 74
335
7
341
335
484
453
472
471
5"
297
. 400
. 433
. 161
■ 403
327
336
466
22
295
290
Line
149 .
iv. 179 .
iv. 209 .
V. 41 .
V. 51 .
V. 60 .
V. 8s .
V. 139 .
V. 169 .
V. 186 .
V. 228 .
V. 230 .
V. 233 .
V. 252 .
V. 255 .
V. 297 .
V. 311 .
V. 338.
V- 343 •
V. 349 -
V. 406 .
V. 407 .
V. 431 .
V. 464 .
V. 469 .
Par.
- 404
/95
•1367
. 154
- 230
< 120
326
. 466
. 84
• 356
. 28
- 238
• 215
• 238
- 335
. 419
. 291
• 230
. 182
. 280
• 413
• 473
- 344
. 486
- 158
. 249
- 434
HAMLET.
Act
[.
i. I .
. 512
i. 6 .
. 191
i. 26 .
- 30
I 31-33
^z
i. 33 -
. 361
1. 35 -
. 5"
1. 40-
.t5i3
»• (r:l.
.469
45 '
S3 •
55 •
S6.
57 ■
70
72
•t329
-+458
. 181
- 312
• 3
• 513
/13
• •I364
. . 290
77 .
-t3I2
81 .
.ti30
84.
. 92
86 .
(469
•\49o
93 .
/t453
I 494
98.
- 433
I02)
io8r
. 127
i.
108 .
. 299
i.
114 .
. 8
i.
"5 .
.t468
1-
116 .
• 304
i.
117 .
- "3
L
119 .
. 204
i.
122 .
129)
. t69
I.
•132-
513
4<62
INDEX.
Sc I-ine
Par
Sc
Line
Par.
Sc.
Line
Par.
Sc
Line Par-
1. 13&
. 429
ii.
140 .
. 501
iii.
63.
.I242
V
6c
. 176
»• 143
.+470
iL
141 .
. 312
iii.
es .
•+470
V.
61
1492
1(6)
i. 154 •
P-I3
ii.
142 .
• 349
iii.
70 .
.t276
i. 158
. 142
ii.
151 .
. 194
iii.
73 •
• 245
V.
65
• . +89
i. 161
i. 168 .
.463
.+364
ii.
ii.
159 .
160 .
.+364
• 497
iii.
iii.
74 .
85.
• (5)
• tsoi
V.
V.
90
120
/ 290
1t442
• •tSi:'
ii. II .
. (i)
ii.
171 .
.+277
iii.
89.
• 457
V.
139
• . 149
ii. 14 .
.+189
ii.
172 .
• 443
iii.
95 •
.+89
V.
163
• 492
ii. 17 .
. 244
ii.
176.
• 494
iii.
lOI .
/+513
( 453
V.
173
• 470
ii. 20 .
. 342
ii.
179 .
. 192
V.
175
. 178
ii. 21 .
.p. 16
ii.
180 .
.469
iii.
112 .
• 513
V.
178
.+350
\i. 22 .
.+242
ii.
183.
.+ 131
iii.
117 .
. 478
V.
180
iii
a. 23 .
ii. 27 .
.p. 16
•t343
ii.
ii.
184.
185 .
4506
. 480
iii.
iii.
119 .
126 .
. 164
• 5
V.
186 .
H. 35 .
. 148
ii.
193 •
•+307
iii.
131 .
• 57
"• 37 .
. 186
ii.
198 .
. 450
iii.
133 .
. 22
Act
[L
ii. 38 .
. 412
ii.
207 .
• 3
iv.
3 .
•t297
i-
11 .
. IX
ii. 42-9
• 23s
ii.
216 .
• 304
iv.
{5}-
• 5^3
i-
36.
. 482
u. 68 .
• 294
ii.
217 .
.+107
iv.
6 .
• 5
i-
42 .
. 208
ii. 78 .
ii. 81 .
ftp 12
I (2)
. 460
ii.
ii.
218 .
219 .
. t38
•+339
iv.
iv.
18 .
21 .
+170
90
i.
58
64
|24
1400
. 168'
ii. 87 .
. 490
ii.
22? .
•+343
iv.
30 .
• 3
i.
82 .
• 275
ii. 90 .
.246
ii.
{So}-
.+513
iv.
35 •
.t3i5
i.
84 .
.478
ii. 92 .
.|'3)
I492
ii.
232 .
.468
iv.
iv.
47 .
51 .
• 491
.+307
••
91 .
IS}-
. 507
ii. 95 .
.i83a
iii.
2 .
. 109
iv.
£2 •
. 492
i.
. 178
it. 99 .
.4I9«
iii.
8 .
.484
iv.
54 •
. 216
i.
95 .
.tio9
.t252
iii.
17 .
.+376
iv.
57 .
• 75
i.
112 .
• 472
«■ CosJ-
i88«
iii.
21 .
/484
1(4)
iv.
73 •
f200
1423
••
114 .
a-
. +16
ii. 105 .
. 206
iii.
24 .
• 497
V.
6 .
. 500
^•
• 390
ii. Ill .
. 82
iii.
30 .
• 199
V.
II .
. 149
ii.
2 .
• 50
ii. 112 .
. 149
iii.
43 •
. 82
V.
13 •
•t343
ii.
5 •
• 479
ii. 119 .
/456
•11469
iii.
45 •
•+31S
V.
18 .
• 350
ii.
7 .
• 325
iii.
47-51
• 415
V.
19 .
• 24
ii.
10
• 179
ii, 120 .
.t3iS
iii.
SI .
. 200
V,
21 .
p. 16
ii.
II ,
. 167
ii, 124 .
ii. 126 .
ii. 137 .
. 188
. 123
• IS
iii.
iii.
59 •
62 .
f 490
1+368
. 95
V.
V.
V.
32 .
48.
53 .
.1322
. 277
. 417
ii.
u.
12
26 .
. 132
/ 247
lf468
INDEX.
463
Sc. Line
Par.
Sc. Line
Par.
Sc.
Line
Par.
Sc.
J^ne
Par.
ii. 27 ,
• 174
ii. 584 .
. 512
ii.
28 .
. 165
iii.
62 .
• 95
ii. 36 .
ii. 42 .
. 434
. 69
ii. 590 .
u. 593 .
.{6«;
• 5"
ii.
£}•
. 300
ii:.
iii.
75
78 .
• 32s
. 511
ii. 67.
.t399
ii. 601 .
. 220
ii.
53 ■
. 97
iii.
91 .
. 24
ii. 71 .
.+468
ii. 60s •
. 122
ii.
68 .
. 229
iv.
3 .
.+285
•t5i3
ii. 80 .
.t297
ii. 607 .
. 22
ii.
69 .
• 174
iv.
5 .
u. 81 .
• 374
ii. 610 .
. 512
ii.
71 .
. + 164
iv.
7 .
. 200
ii. 83 .
.t343
ii. 622 .
.t366
ii.
73 .
. (9)
iv.
25 •
■t5i3
ii. 91 .
ii. 100 .
.467
.+404
Act in.
ii.
ii.
93 .
98.
.ti37
. 177
iv.
&■
. 279
li. 113 .
.ti59
L 8 .
• 399
ii.
Ill .
. 229
iv.
50 •
. 142
ii. 127 ,
• 145
m;?:
/+513
1+468
ii.
131 .
. 58
iv.
SI .
• 430
ii. 139 .
. 60
1. 13 .
• 173
ii.
176.
.tss
• iv.
66 .
• 355
ii. 140 .
ii. 148 .
.438
.483
^- S}-
.t5i3
ii.
ii.
177 .
178 .
.336
.388a
iv.
iv.
94 .
95 .
.+498
•ti59
ii. 151 .
. 240
i. 29.
• (7)
ii.
184.
• 355
iv.
98 .
.(13)
ii. 154 .
.t284
i- 33 .
•t47o
ii.
190 .
.t364
iv.
122 .
• 24
«• my
• 371
'• a
.+315
ii.
fc}-
• 415
iv.
&
. 500
ii. 176 .
.t27S
i. 38.
.+368
ii.
207 .
. 194
iv.
144 .
. +80
ii. 196 .
.+274
i. 44 .
. 180
ii.
214 .
%%
iv.
173 '
. 297
ii. 206 .
.+276
i. 49 .
. 482
iv.
180 .
.485
ii. 287 .
. 128
'• {§■
. 187
ii.
ii.
220 .
221 .
• 339
. 490
iv.
195 .
.U59
ii. 301 .
• 174
iv.
202 .
.t335
ii. 305 .
• 439
i. 68 .
. 508
ii.
227 .
.1364
iv.
206 .
. 492
i. 89 .
.+469
ii.
252 .
. 2l6
.
"• 343 .
• 37
IV.
207 .
. 342
ii. 398.
• 297
i. 91 .
i. 119 •
. 346
.tl2I
ii.
268 .
{%%
iv.
209 .
. 143
ii. 402 .
ii. 483 .
ii. 504 .
ii 508 .
• 42
•+472
. 512
. 22
i. 124 .
i. 102-58
i. 163 .
i. 164 .
.t223
. 342
. 22
ii.
ii.
ii.
312 .
317 .
350 •
377 .
.t439
• 354
• 423
. 425
i.
Act IV.
10 . .t399
ii. 510 .
. 24
• 371
i. 168 .
i. 173 •
. (8)
. 24
ii.
ii.
394 .
408 .
. +89
•tsoi
ii.
11.
12 .
7 .
J +356
1+170
r+466
II497
u- 537 .
.+164
i. 174 .
• 451
iii.
3 •
• 425
ii. 549 .
.+230
i- 175 .
.+152
iii.
14 .
i02)
'^35
iii.
22 .
i 38
1 221
ii. 567 •
• 33*
i. 181 .
. 68
iii.
20 .
.+272
iii.
46 .
• 143
ii. 578 .
ii. 5&0 .
.tl29
. 229
i. 182 .
ii. 3 .
• 337
. 221
iii.
33 •
. i6s
•fcl
iii.
&
• 143
ii. 581 .
•t49o
iL 28 .
. 158
iii.
38.
iii.
70 .
• 371
464
INDEX.
Sc. Line
Par.
Sc.
Line
Par.
Act V.
Sc.
Line
Par
iv. 9-12 .
•tsoo
vi.
II .
•t349
Sc.
Line
Par.
ii.
Ca .
. 8-.
;-■ ©■
.484
vi.
13 •
• 405
81 .
. 184
ii.
108 .
.(15)
.1466
vi.
=5 •
.+244
85.
. 262
ii.
120 .
. 128
iv. 39 .
vii.
13 .
• 273
87.
• 329
ii.
162 .
•t3M
iv. 44 .
•1-359
vii.
16 .
.+145
100 .
• 93
ii.
1% .
• 319
iv. 6s .
V. 3 •
V. 5 •
. 482
•+319
•t33S
vii.
vii.
17 •
.460
• 425
244 .
.+299
/228
'Id 4)
ii.
ii.
ii.
206 .
226 .
241 .
.+285
. 460
• 479
v. 76.
.461
vii.
28 .
. tag
252 .
.+322
ii.
/245\
1246/-
258.
266 .
270 .
.298
.316
.+494
.+513
v, 83 .
V. 84.
'• ©■
• tsoi
1+469
1+497
•+513
vii.
vii.
vii.
vii.
48.
50 .
55 •
59 •
. 6
.+325
.+513
.till
253 •
258.
261 .
265 .
.+148
•+5I3
• 430
. 469
ii.
ii.
ii.
V. 99 .
. + 178
vii.
60 .
.482
268 .
. 360
ii.
27O .
.1297
v. 102 .
• 495
vii.
61 .
•+133
281 .
•+5I3
ii.
277 .
. 81
V. 125 .
V. 128 .
. 187
. 146
vii.
63.
r "5
U285
296.
298 .
. +89
. 241
ii.
ii.
307 •
•323!
^324r
•+479
• 513
V. 129 .
•+513
vii.
85 •
• 307
317 •
. 162
ii.
337 •
.(16)
V. 133 •
V. 141 .
. 187
.+S01
vii.
vii.
120 .
132 .
.+244
ii.
{:=}•
. 514
ii.
ii.
341 •
342 •
.238
. 166
- {^
}.+5i3
vii.
m-
.+285
ii!
27 •
28 .
• 414
.+5"
ii.
ii.
343 •
347 •
•+513
. no
- &
. 181
vii.
159 •
.tiio
ii.
29 .
•U38
ii.
373 •
.+513
•I492
vii.
178.
. 202
ii.
51 •
. +89
ii.
406.
. 180
V. 213 .
vii.
179 .
+P-r3
ii.
63.
/204
•\297
ii.
409 .
.+360
V. 217 .
.283
vii.
181 .
•+495
ii.
64.
.t2l6
ii.
411 .
•364
(3) Rick. III. i. 2. 3.
misspelt " oft," " ost "
(i) W. T. V. 2. 82. (2) Macbeth, iii. 1. 15.
(4) Folio, " sanctify :" probably " sanity. "
(5) Perhaps a corruption arising from a repetition of " oft '
most."
(6) Macbeth, iii. 5. 32. {6a) Compare "free," Hamlet, iii. 2. 252.
(7) Macbeth, iii. 5. 7. (8) Macbeth, iv. 3. 170. (o) Folio, "hath
(ro) Folio, "favourites." (11) Hamlet, iv. 7. 145.
(12) Folio, " depends and rests." (13) Rich. III. iii. i. 82.
(14) Folio, "it," not "its." (15) L. L. L. v. i. 203-4..
(16) Above, 283. - -Macbeth, ii. 2. 56-7. >
INDEX.
465
HENRY IV.
Act I
Sc.
Line
Par.
Sc.
Line
Par.
Sc. Line
Par.
Sc Line
Par.
iii.
65 .
. 490
i.
1/7 .
•I432
.466
. 419
iii. 92 .
. .160
i. 21 .
i. 23 .
. 474
. 87
iii.
iv.
{;:r}
127 .
. 231
175
i.
iL
257 •
56.
iii. 104 .
.503
. 480
". 53 .
• 2.?7
iv.
166 .
178
ii.
60 .
. 243
iv. 2 .
. 489
li. 65 .
• 419
iv.
182 .
. 301
ii.
88 .
. 24
iv. 27 .
. 97
li. 157 .
. 419
iv.
222 .
. 24
ii.
lOO .
. 168
ii. 174 .
. 22
iii. 15 .
. 4S7
iv.
2-^3 .
. 220
ii.
118 .
. 231
Act V
iv.
24I .
. 220
ii.
120 .
. 168
iii. 17 .
. 512
iv.
278 .
. 4O2
/216
U76
i. 20 .
• 490
iii. T25 .
. 10s
iv.
300 •
. 216
ii.
"3 .
i. 27 .
. 507
iiii. 146 .
.426
iv.
312 .
. 363
ii.
124 .
. 268
i. 50 .
. 25s
iii. 159 .
• 349
iv.
411 .
. 363
ii.
141 .
• 431
i 65 .
. 22
iii. 183 .
• 374
iv.
442 .
• 243
li.
149 .
• 67
i. 72 .
. 343
iii. 234 .
. 480
iv.
573 •
. 299
ii.
168 .
. 276
i. 90 .
a
iii. 271 .
• 457
iii.
50 .
(19&.
\ 220
i. 109 .
i. 116 .
• 505
• 92
Act II
Act III
iii.
180 .
. 301
ii. 8.
.498
L 6 .
(400
i.
5 •
487
ii. 30 .
.338
i.
17 •
343
". 33 .
• 477
i. II .
i. 12 .
. 400
• 299
i.
i.
34 .
48.
466
220
i.
Act IV.
24 . . 200
ii. 62 .
f27I
•1460
»• 34 .
i. 59 .
i. 80.
. 183
. 227
i.
i.
i.
60 .
63.
67. .
363
499
484
i.
i.
i.
52 .
no .
127 .
. 98
. 290
.346
ii. 71 .
ii. 97 .
iv. 5 .
iv. 41 .
. 181
.489
.362
. 469
ii. 14 .
. 122
*•
72 . .
505
ii.
56 .
• 24
iv. 87 .
. 480
ii. 28 .
ii. 30
• 333
. 24
1-
i.
74 . .
100 . .
44
220
ii.
iii.
83.
38.
.461
. 124
iv.((F°J>l
(461
I492
iii. 28 .
• 219
i.
131 . .
461
iii.
44 •
.467
iv. 125 .
. 270
-• fej
i.
133 • .
55
iii.
68 .
• 17
V. 13 .
• 472
• 231
L
152 . .
374
iii.
75 .
. 220
V. 14 .
. 4S7
2 HENRY IV.
Act I.
1. 9i).
. 260
i.
209 .
• 17
ii. 212 .
. 68
Ind.
37 • . 2
i. in .
• 330
ii.
23 •
. 319
•02
L
3 • .295
i. 138 .
• 425
u.
66 .
• 254
ii. 2x3 .
\.
86 . . 490
?7 195
i. 192 .
• 130
ii.
85.
. 335
ii. 245 .
230
L
i. 199 .
. 343
u.
ISO .
253
ill in .
. 2&1
H H
466
INDEX.
Sc.
Line
Par.
So.
Line Par.
Sc.
Lii>e
Par.
Sc.
Line
Par.
iii.
39 •
• 354
iv.
305 . . 199
1.
98 .
• 305
V.
77 .
Si-J
iii.
59 •
. 260
Act III. 1
J
107 .
• 305
V.
91 .
. 198
iii.
8o .
• 371
i.
30 . . 89
i
117 .
.284
V.
126 .
. 202
iii.
91 .
. 87
i.
22 . . 264
i.
161 .
. 477
V.
153 •
. 46S
Act II
ii.
57 . . 309
»•
183.
. 81
V.
165.
. 343
i.
70 .
. 187
ii.
199 • . 335
^•
198 .
.383
/202
•1361
Act V
186 .
• 295
u.
206 , . 132
i.
225 .
J_
84.
. 202
ii.
213 . . 32
i.
191 .
• 30
11.
"3 .
• 471
ii.
24 .
66 .
. 28
i.
200 .
.378
ii.
300 . . 330
iii.
79 .
.487
ii.
• 371
. 301
fi4i
•I264
ii.
iii.
59 •
42 .
• 331
. 492
ii.
ii.
304 . . 220
310 . . 405
iii.
iv.
120 .
20 .
.264
• 37
ii.
85 •
iii.
65 .
. 492
Act IV.
iv.
39 .
• 377
ii.
128 .
iv.
83.
• 335
i.
32 . . 287
iv.
Ill .
• 51
iii.
93 •
. 128
iv.
174 •
. 268
i.
71 . . 17
V.
71 .
• 474
iii.
98.
. 343
HENRY V
Act I
ii.
21 . .+440
ii.
165.
.446
ii.
2 .
• 315
Prol
It}-
.481
ii.
ii.
58 . . +89
66 . . 419
ii.
ii.
167.
172 .
.486
. t89
ii.
ii.
23 •
31 •
.+406
.+342
„
12 .
16 .
. 450
. +90
ii.
{§i -^3
ii.
ii.
183.
199 .
. 480
.+467
ii.
ii.
43 •
44 •
. +17
. (5)
»
18 .
. t3
ii.
75 . . 489
ii.
203 .
• 490
ii.
70 .
.+469
i.
I .
. t20
it.
88 . . 217
ii.
208 .
. 497
fi.
71 •
.+468
i.
9 .
15 •
• 419
. 89
ii.
ii.
248.
.469
It349
t+369
ii.
n
.+236
35 .
.t4o6
ii.
93 . -+223
ii.
256 .
ii.
91 .
.+270
43 .
•+199
ii.
94 • '+440
ii.
263 .
.t244
ii.
95 •
.+442
U283
. 414
ii.
98 . .+343
ii.
270 .
. (2)
ii.
100 .
• 309
47 •
53 •
ii.
{;?5}- • 457
ii.
ii.
292 .
305 .
.J460
. 472
U.
ii.
102 .
103 .
. (6.
57 .
• 403
ii.
108 . .ti37
ii.
307 •
. 203
ii.
104 .
. 32:
72 .
.458
ii.
no . . 89
Act II
ii.
116 .
.t47c
i.
75 •
.+468
ii.
114 • • 154
Prol. 18
• .349
ii
123 .
.+45C
i.
81 .
.+ 196
ii.
132 . . 463
>»
26
. (3)
ii
12J
.4S3
i.
86 .
• 433
ii.
145 . • +69
32 .
. (5«)
ii.
129 .
. 455
ii
ii
12 .
16 .
.136
/+193
\ 342
ii
ii
153 • .+283
|-
9 •
66 .
. 64
.428
ii.
ii.
132 .
139 •
.+i3f
.39S
ix
28 .
ii
- • ■\^^
i.
104 .
107 .
.+216
• (4)
ii.
ii.
151 .
159 •
•t43S
INDEX.
467
Sc Liue
Par.
S>c.
Line
Par.
Sc.
Line
Par.
Sc. Line
Par.
ii. 159 •
.t467
i.
14 .
. 479
190
vi. 3 •
.+468
n. r68 .
.468
iii.
S •
. 503
i.
-^191 .
193)
197 .
t378
vi. 9 .
. (9)
ii. 181 .
. (7)
iii.
9 •
.t474
i.
417
vi. 12 .
• t440
iii. 6 .
. 490
iii.
12 .
. t89
fell-
vi. 18 .
• 344
iii. II .
/(4)
•\io4
. 38
iii.
26 .
. 490
'•
t469
vi. 24 .
. +66
iii. la .
iii.
CI}-
• 174
i.
i.
305 .
319 •
315
+69
vi. 37 .
vii. 58 .
.364
• 347
ir. I .
. 335
iii.
46 .
. t76
ii.
13 .
t468
vii. 76 ,
. 200
iv. 20 .
.tio7
V.
II .
.484
ii.
23 •
t5oi
vii. 81 .
. +89
iv. 25 .
4301
V.
12 .
.+126
u.
32 •
t359
vii. 88 .
. +87
iv. 31 •
. 364
v.
22 .
. 89
ii.
62 .
+ 150
vii. 121 .
•+364
iv. 50 .
»v. 53 •
• 415
. 225
• 51
V.
V.
V.
vi.
24 .
35 .
60 .
157 .
. 498
.+285
.ti48
• 249
iii.
iii.
ui.
2 .
9 .
343
t469
^254
t5oo
vii. 131 .
. (4)
/ 402
1+249
iv. 64 .
. 225
• 414
vi.
vi.
16s.
179 .
. 203
•+492
iii.
iii.
26 .
33 .
897
• 503
-tl
. (4)
iv. 80 .
.+460
vii.
9 •
.ti7i
iii.
m-
415
VI 74/
vii. 142 .
.+ 158
iv. 85 .
. 490
iii.
42 .
24
vii. 184 .
.till
iv. 90 .
. 349
/3"
•1348
Act IV.
iii.
44 •
348
vii. 188 .
• 377
iv. loi .
Prol. 8 .
• 450
iii.
55 •
453
vii. 189 .
•+399
iv. 103 .
. 350
21 .
.264
iii.
59 •
+474
viii. 44 .
. (4;
iv. 105 .
• t95
28 .
• 251
iii.
63.
. 290
viii. 84 .
. (10)
iv. 120 .
iv. 122 .
. (4)
.+468
36.
38.
• 440
• 374
iii.
-W^3
viii. 116 .
viii. 122 .
.+462
. (4)
iv. 124 .
• 450
48.
. t66
iii.
77 .
. 297
iv. 126 . . 477
Act III.
16 .
26 .
29 .
38.
•+297
. 303
.t5X3
•457«
iii.
iii.
iii.
84.
86 .
95 .
/348
I414
451
87
Act V.
Prol.y}. .1462
„ 7 • • 480
Prol. 6 .
• 457
m-
• 465
iii.
107 .
492
„ 17.
. 287
„ 10 .
• 444
iii.
113 •
319
„ 34.
. 202
tt II •
.+ 193
45 .
•+505
iii.
120 .
315
»» 41 •
• 429
„ iS .
. 89
89.
.t299
iii.
131 •
t5i3
» 45 •
.+ 141
i> 'I •
.+466
"3 •
. 300
iii.
132 .
+46
i. 31 •
• 353
„ 30 •
.ti89
118 .
.276
ir
'3 •
t20I
i. 93 .
. 501
». 32 •
•+297
126 .
. t87
iv.
76 .
248
ii. 4 •
• 469
i 9 .
i. 13.
•+490
.t228
laS .
181 .
.t28l
.429
iv.
81 .
17 .
+ 172
290
ii. 19 .
^%
H H 2
^68
INDUX,
Sc.
Lin-.
Par.
3c.
Line
Par.
Sc. Line
Par.
Sc. Line
Par
ii.
28 .
• 471
li.
73 .
. 440
ii. 138 .
.1361
ii. 475 •
.478
ij.
u
.287
ii.
ii.
78.
88 .
.+361
• 494
«■ {g}-
• 315
ii. 48a .
ii. 491 .
.1368
. 458
ii.
68 .
• 329
ii.
92 .
. ti3
ii. 398 .
.432
Epil. II .
• 93
(i) Folio, "makes." (2) Perhaps, "hence," from home. — Macbethy iii. 3. 36.
(3) Macbeth, ii. 2. 56-7. (4) Folio, "and." (5) Macbeth, iii. 5. 32.
(5a) Malone, "while we force." Perhaps, more probably, " we'll" is to be repeated.
(6) J. C. i. 3. 22. (7) Hamlet, i. 2. 182. (8) A. Y. L. iii. i. 18.
(9) A. IV. V. 3. 297. (10) Perhaps " sides" (486) is prolonged.
I HENRY VI.
Act
1.
V.
31 •
484
i.
28 .
• 414
i.
175 .
■ 467
V.
36.
295
i.
34 •
. 120
iii.
33 •
. 170
2 .
■ 529
vi.
4 •
479
i.
51 •
. 484
iii.
46.
. 170
60 .
• 489
vi.
12 .
501
i.
81 .
• 492
v.
1,55 .
• 331
71 •
76.
• 492
.485
vi.
16 .
348
i.
112 .
.484
v.
30 .
• 319
vi.
26 .
42s
i.
142 .
.487
vi.
6-9.
. 231
• 456
vi.
27 .
50s
i.
143 •
. 490
vii.
34 •
. 172
"5 .
• 440
Act IL
ii.
9 .
• 335
vii.
70 .
.489
126 .
+P-34
i.
30 .
363
ii.
25 .
. 150
vii.
72 .
a
I .
. 217
i.
46 .
299
ii.
104 .
.469
. 24
. 492
. 92
Act V
19 .
54 •
74 .
77 •
. 492
.156
I
. 89
i.
i.
i.
iii.
53 •
70 .
71 .
28 .
275
178
325
466
ii.
ii.
iii.
iii.
123 .
124 .
3 •
20 .
i.
iii.
iii.
21 .
41 .
82 .
• 479
. 164
|230
1352
lOI .
.498
iii.
58 .
321
iii.
31 •
. 92
iii.
$8.
• 52
5
487
iv.
15 .
10
iii.
72 .
. 418
iii.
177 .
• 247
11
474
iv.
91 .
47a
iv.
17 •
. Ill
iii.
183 .
• 342
20.
488
iv.
98.
371
iv.
29 .
. 178
iv.
8 .
• 295
52 .
. 320
v.
37 •
3"
iv.
22 ,
. 168
87 .
. 480
v.
55 •
244
Act IV
iv.
25 •
13
90 .
. 382
V.
\^-
485
28 .
. 287
iv.
57 .
463
91 .
. 492
l7^J
38 .
• 17
IV.
75 .
. 105
10
. t5
v.
39 .
360
70 .
.484
iv.
156 .
• 490
t6 .
. 505
V.
96 .
349
"3 .
. 348
V.
18 .
. 122
28 .
. 489
Act III
126 .
- 490
v.
55 .
^79
■S4 •
• 430
i.
^3 . •
497
.
166 .
■ 467
V,
6,» .
. SOS
INDEX.
469
2 HENRY VI.
Aci I.
Sc.
Line
i.
2 .
i.
19 .
i.
61 .
i.
150 .
i.
166 ,
i.
183.
i.
206 .
i.
208 .
i.
225 .
i.
233 .
i.
247 .
ii.
17 .
ii.
36.
ii.
57 •
ii
58.
ii.
69.
ii
79 •
ii.
80-2 .
ii.
97 •
iii.
63.
ill.
I5J .
iii.
167.
451
247
168
296
376
121
477
501
289
280
333
363
89
289
I13S
209
89
479
470
/491
I471
484
409
Sc.
iv.
iv.
iv.
Line
25 . .
31 • •
78 . .
Act II.
3 • •
22 . .
93 •
94 .
99 •
109 .
6 .
{.3-
3 • •
52 . .
63. .
Act III
9 • •
66 . .
126 . .
160 . .
Par,
251
382
466
I347
•(411
. 226
fiSo
1335
. 168
349
128
220
510
5"
485
456
463
475
446
132
57
326
451
Sc. Line
i. 217 .
i. 254 .
i. 301 •
i. 348 .
ii. 3 •
ii. II .
ii. 31 •
ii. 84. .
ii. 89 .
ii. 100 .
ii. 119 . ,
ii. 139 • •
ii. 178 . ,
ii. 257 . ,
ii. 258 . .
ii. 286 . ,
ii. 29s . .
ii. 365 • .
ii. 401 . ,
ii. 403 . .
Act IV
i. 3 • •
i. 85 . .
i. 87 . .
Par.
. 20
. 264
• 337
. 463
• 405
• 335
. 190
• 343
. 156
.i"7
(291
. 501
• 451
• 3
. 160
. 490
. 40
. 298
. 460
. 158
(492
"1497
260
338
478
VI.
VI
Par.
• 175
. 213
. 484
• 443
. 402
. 178
. 169
. 168
. 268
• 193
• 477
Act V.
16 . . 168
c. J.me
i. 113 .
i. 117 .
i. 129 .
i. 135 .
ii. 59 .
ii. 96 .
ii. 103 .
3 •
23 •
32 .
60 .
143 •
153 •
196.
211 .
45 •
86 .
• 512
• 335
• 432
. 264
• 352
.478
.478
. 451
. 243
3 HENRY VL
Act I.
215 ■
224 .
38.
41 .
43 .
47
• 476
. 466
.478
.467
. 509
.(95
(377
rxi6
•I289
. 243
IV. 10
iv. 103
iv. IIS
iv. 142
IV
ISO . .
Act II.
i. 2 . ,
i. 16 . ,
i. 46 . .
226
460
218
490
126
295
263
flT6
I289
80 .
83 .
106 .
no .
142 .
157 •
27 .
40 .
56 .
3 •
• 430
. 247
• 29s
• 451
.428
. 156
. 192
• 423
441
. 178
*2
60
42
56
86 . .
Act III.
• 3c^
. 38*
. 229
.419^
• 244
/i5»
•i348
J70
•
INDEX.
Sc.
I/me
Par.
Act IV
Sc.
Line
Par.
Sc.
Line
Par.
^•
31 •
. 189
Sc.
Line
Par.
iv.
26 .
• 492
iv
18 .
• 477
'•
SI •
• 255
i.
17 •
. 480
V.
2 .
355
iv.
34 .
• 37
ii.
92 .
. 40
i.
92 .
. 451
vii.
30 .
U89
iv.
35 .
/375
I431
ii.
m •
. 194
i.
"5 .
. 25
I506
V.
9 .
. 251
ii.
143 •
. 223
i.
131 •
. 451
vii.
32 .
. 170
V.
38 .
• 13
iii.
14 .
. 394
ii.
2 .
U6s
Act V.
vi.
40 .
• 430
iii.
25 •
. 171
»•
20 .
• 451
vi.
41 .
. 484
ui.
87 .
. 26s
iL
7 .
. 503
i.
57 •
. 430
vii.
6 .
. 148
iii.
189 .
•fts
iii.
2 .
. 220
i.
97 .
373
vii.
7 .
• "3
iii.
14 .
.484
ii.
45 •
. 3"
vii.
10 .
.469
ui.
225 .
. 226
iii.
55 .
.478
iii.
8 .
. 198
vii.
21 .
• 371
iii.
226 .
. 291
iv.
12 .
. 146
iii.
14 .
.198a
vii.
34 •
. 289
HENRY VIIL
Act I
i.
126.
55
iv.
49 . . 18
ii.
405 . . 90
t. 18 .
. 228
iii.
50-
. 24
iv.
86 . . 187
ii.
431 . . i63
i. 60 .
. 402
iv.
57-
455
iv.
112 . . 29s
ii.
435 . • 424
i. loo-s .
.467
Act II
iv.
144 . . 90
ii.
438 . . 424
i. 145 .
(164
.164
i.
33 .
• 341
iv.
ii.
tel- •«'
U97
i.
42 .
.376
iv.
178 . . 491
ii.
447 • • 455
i. 159 .
I
i.
52 •
.469
iv.
204 . . 395
ii.
452 . . 468
i. 179 .
. 200
i.
67 .
. 455
iv.
242 . . 90
1. 196 .
• 394
";•
8S .
• 499
Act IV.
ii. 18 .
. 420
i.
97 •
• 455
Act ill
ii. 32 •
Ii. 55 •
. 460
.460
i.
100 .
122 .
.469
• 455
i.
38 . . 484
'•
/Order oft
i Coron. V°^
ii. 85 .
.486
i.
127 .
• 455
45 . . 2
i.
22 . . 469
li. 86 ;
• 371
iii.
15 •
. 290
102 . . 236
^•
56 . . 484
li. 95 .
•(34
iii.
iii.
r6 .
37 •
• 397
. 226
134 . .419^
141 . . 342
i.
88 . . 113
91 . . 376
li. 1T4 .
. 499
iii.
59 •
. 455
117 . . 485
ii.
32 . .200
li. 118 .
• 492
iii.
87.
• 492
160 . . 325
ii.
43 . . 173
li. 140 .
. 14s
r Stage
\ Dirctn
}r94
249 • • 433
ii.
51-80. . 455
li. 149 .
• 492
iv.
340 . . 498
ii.
55 • • 301
i. 168 -,
. 501
iv.
14 •
• 350
347 . . 93
ii.
96 . . 180
i. 179 .
. 501
iv.
30 .
• 3«
360. . 87
ii.
126 . . 95
i. 197 .
• 399
iv.
XI .
. 301
U.
368 . . 424
ii.
148 . . 90
fNDEX
47 »
Act V.
Sc.
L,ine
Par.
Sc.
Line
Par.
Sc.
Line
Par.
Sc. Line Par.
i.
106 .
.381
iii.
18 .
• 419
iii.
173 •
430
i. 19 . . 414
i.
169.
.356
iii.
66.
.364
iii.
175 .
338
i. 34 . . 400
L
'"4 .
. 405
iii.
131 .
. 116
iv.
I .
. 320
I 50 . . 400
ii.
126 .
• 244
iii.
168 .
.456
KING JOHN.
Act 1.
L
371 .
• 294
iv.
29 .
• 492
ii.
258.
390
i. 119 . . 269
i.
396.
• 92
iv.
35 '
. 490
iii.
94 .
36
i. 134 . . 350
i.
421.
•492
iv
56.
. 166
iii.
95 .
352
i. 144 . . 18s
i.
471 .
. 294
iv.
78.
.461
i. 161 . . 506
i.
512 .
. 267
iv.
123 .
• 494
Act V
i. 183. . 87
i. 242 . . 261
i.
560.
567.
• 474
• 193
iv.
145 •
. 220
ii.
39 .
350
L
S68.
. 216
ii.
42 .
• 337
L
S7I •
• 399
Act IV.
ii.
46.
447
Act 11.
i.
US .
. 228
i.
61 .
• 342
ii.
83 .
457
»• 33 . . 348
i.
597 .
. iqi
i.
68-76.
. 326
ii.
91 .
236
i. 34 • . 17
i.
86 .
. 158
ii.
104 .
489
i. 73 • • 342
Act III.
ii.
27 .
. 422
ii.
138 .
350
i. X09 . . 267
i.
39 .
.269
ii.
32 .
. 164
ii.
146 .
294
i. 177 . . 473
i.
92 .
. 128
ii.
42 .
• 51
ii.
157 •
465
'• "'■ -{^s
i.
177 .
• 491
ii.
50 .
. 214
iv.
7 •
433
i.
29s .
. 412
ii.
75 .
. 252
iv.
50 .
126
i. 220 . . 439
i.
299 .
• 239
ii.
148.
■{Ji^
vi.
26 .
186
i. 250 . . 415
i.
327 .
. 196
vi.
44 .
131
i. 264 . . 394
iii.
8 .
. 510
ii.
165.
. 4x0
vii.
22 .
264
i. 271 • . 417
iii.
17 .
•{480
ii.
189 .
. 200
vii.
35 •
480
'■ -' • e
ii.
199 .
. 87
vii.
55 .
226
iii.
31 •
• 52
ii.
200 .
• 474
vii.
59 •
243
«• 357 . . 433
iii.
52 •
• 374
ii.
257 .
• 447
vii.
64.
81
JULIUS CiESAR.
\CT I
'• ©•
. 229
i. 79 .
.t263
ii.
41 .
. 16
3
• 349
ii. I .
.1469
ii.
48 .
• 343
{i;-
232
'• (Jf
. 218
ii. 9 .
.t3i5
ii.
71 •
. 180
ii. 19 .
.460
ii.
!(••
. 2&
42 .
. tas
i- 57 .
. 512
ii. 28 .
•t5i3
ii.
lOI .
. 229
48 .
50 .
.129
. 283
i. 63.
L 6.S .
. 22
«• lis-
. 280
ii.
ii.
no .
H4
. 198
472
INDEX,
Sc.
Line
Par
Sc.
Line
Par.
Sc
Line
Par.
Sc.
Line
Par
ii.
124 .
.1228
iii.
120
• 257
J\.
313 •
. 382
i.
159 .
. (6)
ii.
142
. .^25
iii
124
2
• *•
326.
•+359
i.
171 .
.+475
ii.
160 .
p. 16
iii.
134
. 240
i.
331 .
. 208
i.
173 .
.+46#
ii.
162 .
• tss
iii.
138
.t33S
ii.
37 •
.+494
i.
196 .
. (7)
ii.
173 .
• 350
iii.
144
. 128
^ ii-
38 .
•+349
i.
208 .
. 22^
ii.
174 .
. 280
iii.
148
•t335
ii.
42 .
• + 322
i.
209 .
• 344
ii.
181 .
ti98«
iii.
154
• 333
ii.
76 .
• 487
i.
215 .
• 490
ii.
193 •
4176
ii.
80 .
f 490
1+497
i.
231 .
.+469
ii.
197 .
. (i)
Act IL
i.
268 .
•+193
ii.
ii.
205 .
207 ■
. 421
. 144
i.
§■
• 73«
ii.
<
lOI .
114 .
. 5"
.+344
|-
274 •
281 .
.+283
• 512
ii.
212 .
. 421
i.
50 .
• 343
^ ii.
117 .
. 65
i.
289.
. (8)
ii
231 .
. 12
i.
75 .
.t307
^ ii.
119 .
.+356
i.
295 .
.+270
ii.
ii.
284.
. 90
ftl02
\ (2)
i.
A-
81 .
83.
91 .
• 494
. 290
.tl23
^ii.
/iii.
129 .
.+203
• 235
. (5)
•+233
^ii-
ii.
{.lY
29 .
• 474
•+33S
ii
a-
•+513
i.
106 .
108 .
. 112
• 378
/ iv.
^ iv.
{J
^ ii.
(3-
. 372
ii.
312 .
• 233
-^ ii.
84 .
. 301
ii.
314 .
• 244
1.
A-
123 .
125 .
• 253
• 390
. iv.
{:;i-
• 513
^ii.
96.
. 287
ii
316.
• 279
A.
135 .
.t356
ii.
115 .
. 453
iii.
4 •
.t442
^i.
136.
• 370
Act in.
.^'•a..
121 .
.1469
iii-
iii.
14 .
21 .
. 6
. 264
^ i.
CS)-
.t5i3
^ i.
A-
17 .
18 .
. 474
.485
. ii-
ii.
125 .
187.
.t28l
. II
iii.
22 .
• (3)
,i.
157 .
. 172
i.
23 •
• 471
"•
192 .
.487
iii
39 .
• 405
'/'•
160 .
. (3)
^'•-
30 •
• 247
, ii-
231 .
• 475
iii.
iii.
42 .
47 •
. 86
.t223
i.
•
{»
.468
i.
©•
. 281
ii.
254 .
266 .
. 202
.+453
iii.
iii.
60 .
64 .
• 159
.ti58
X.
, i.
194 .
196.
4466
. 158
. i.
n
.+279
'', ii.
275 •
13 •
• 414
.+230
iii.
65
. 290
i.
208 .
209 .
• 474
. SI2
/ >■
92 .
95 •
.+287
.+118
iii.
20 .
. 220
iii.
i^s)-
• 5"
. i.
216 .
.263
100 .
.t204
Act IV.
iii
77 .
tp.13
/ *•
224 .
• 397
121 .
. II
A.
iii.
82 .
.+137
. i-
230 .
. 430
1.37 .
.+469
2 .
4469
iii.
87
• 315
x'^-
238.
• 343
140 .
/+I33
t+349
L
12 .
23 •
3
. 466
iii.
{^^l-
236
y i-
28s .
(t497
or
143 .
. 189
i.
28 .
• 479
iii
{;:;)
(4)
.+ 501
144 .
.+69
i.
41 .
• 199
A-
291 .
.+513
15s •
.+280
/ i-
47 .
• 474
iii.
117
. 279
'•
309
.*244
./ »•
J.S7 .
.236
ii.
5 •
• 303
nVDEX.
All
Sc. Line
Par.
Sc.
I-ine
Par.
Sc. Line
Par.
Sc.
Line
Par.
ii. 26 .
ii. 51 •
.t29I
.+494
iii.
iii.
201 .
231 .
.+470
. 480
-■ ^
.+513
iii.
iii.
32 .
38.
. 506
. 178
iii. 9 .
iii. 10 .
iii. 19 .
- {%}■
.483
.t356
. 217
. S14
iii.
iii.
/iii.
iii.
237 •
241 .
255
261 .
.478
• 295
. 51
•t323
^ \. 44 .
,A- 45 .
^- m-
i. 60 .
. 482
.506
.+513
2
iii.
iii.
iii.
85.
96
.+5x3
. 212
.+244
iii.
iii.
270 .
• 513
.t28l
^ i. 70 .
., i. 72 .
• 506
. 114
iii.
iii.
97 .
99 .
.t466
. 13
iii. 73 .
iii. 95 .
iii. 102 .
• 350
. 24
. (9)
r+263
't264
iii.
iii.
iii.
271 .
273 .
280 .
.363
.456
• do)
i. 83.
• 234
. 379
.t263
IV.
iv.
iv.
V.
12 .
30 .
32 .
3 .
. 420
. 466
•+295
.ti36
i. 87 .
.+107
V.
14 .
.■t283
m. 142 .
•t497
Act V
.
i. 96.
.t442
V.
22 .
.t4i4
iii. 153.
.t469
i.
I .
• 474
i. 108 .
• tsoo
V.
33 .
. 232
iii. 156 .
.380
a-
^ i. Ill .
•+S13
V.
35 .
. 123
iii. 157 .
.t466
y^-
.+513
iii. 7 .
•+49S
V.
38.
.457«
iii. 179 .
. 486
i.
33 •
. 4T2
iii. 25 .
• 295
V,
69.
. 118
(i) I Hen. IV. iii. 2. 16. (2) Folio, " aad." (3) Rich. III. v. 3. 156.
(4) Play on " \io\\(L."—Macbtth lii. 2. 49 ; Rich. HI. iv. 4. 77.
(5) Rich. III. iv. 4. 444. (6) M. of V. iii. 2. 61. {j) A. Y. L. J. 3. 35
(8) Perhaps i. 2. 156. (9) Folio, "Pluto's." See Introduction, p. 16, note.
(lo) Tempest, i. 2. 213.
LEAR.
.+315
. 469
•tsoi
.t3i?
.1469
.t5I2
.1284
•+342
.1469
. til
Il26t
99 .
B
»• 137
139
Mr
.t<68
.384
.+500
.t468
ft497
(t5oi
•t497
• 458
i. 15c .
.tTOi
i. 153 .
.+364
'■ {:i&-
.^58
i. 162 .
•t5i3
i. 163 .
. 2C>C'.
i. 178 .
.1382
i. 181 .
.t469
i. 183.
.f212
'■ {:^,'l-
4247
i. 198 .
. + 469
i. ao3.
.t297
205 .
• (0
207 .
. 294
213 .
.t40i
tfl-
. +11
217 .
.+38
223 .
1+279
1+290
225 .
•458
226 .
/+500
227 .
• 387
228 .
•tsoj
74
INDEX.
Sc. Line
Par
Sc.
Line
Par.
Sc.
Line
Par.
Sc.
Line
Par.
'■ &■
.1252
IV.
194 .
.+203
63.
267^
iii.
21 .
. +55
.t343
iv.
197 •
. (4)
68 .
•+439
iv.
2 .
.+468
i, 239 .
iv.
204 .
. 213
72 .
• 294
iv.
27 •
• 377
'• &■
.t469
iv.
223 .
|t434
1+512
(?:}■
.+251
iv.
35 •
. 87
i. 251 .
.1287
77 •
91 .
94 .
97 •
.+306
.+401
.478
(472
1(5)
iv.
42 .
. 401
i. 262 .
i. 264 .
i. 271 .
i. 272.
• 375
• 77
• 13
• 414
iv.
iv.
iv.
iv.
224 .
225 .
236.
242 .
261 .
457'»
.t36o
. 228
. 418
•458
.+5©i
i.
iv.
iv.
iv.
iv.
64.
65 .
68 .
90 .
. +37
. (4)
.+i88
. 480
i. 304 •
ii. 4 .
.t442
• 456
iv.
265 .
i.
(SI-
. 490
iv.
iv.
91 .
lOI .
. 471
.+513
(484
■\t93
iv.
270 .
• 439
i.
100 .
. 301
iv.
102 .
. 480
ii. 14 .
iv.
272 .
/3S4
■1438
i.
Ill .
. 482'
.+174
• 483
iv.
107 .
. 69
ii. 15 •
/ 5io
U512
iv.
282 .
.+223
i.
i.
"3 •
114 .
iv.
Ill .
1114/
. tii
u. { a
4232
iv.
283.
(478
1+513
i.
126 .
.+468
iv.
• 490
<I25)
iv.
297 .
. 480
i.
129 .
.+479
iv.
134 .
. 490
ii- 44 •
|(2)
.381
.t348
• 134
iv.
299 .
.+5"
ii.
54 •
. 468
iv.
US •
.366
iv.
30s •
• 439
ii.
80 .
• 24
iv.
148.
.+513
ii. 77 ,
u. 87 .
ii. 89 .
iv.
iv.
306.
324 .
, 423
.438
ii.
ii.
ii.
82 .
86 .
88 .
. 12
.+511
. 200
iv.
iv.
^57 .
. 458
.+513
ii. 93 .
li. 106 .
ii. 161 .
ii. 164 .
• 343
.t220
/tp. 13
\ (3)
. 419
iv.
iv.
iv.
iv.
iv.
328 .
332 .
347 •
349 •
362.
• 3
.463
• +501
. 440
. 480
ii.
ii.
ii.
ii.
106 .
107 .
109 .
112 .
. (4)
. 412
. 492
.+490
iv.
iv.
iv.
iv.
210 .
215 .
220 .
. +95
.+417
.484
.458
ii. 197 .
.458
iv.
365.
.483
ii.
.+378
iv.
251 .
457'*
iii. I .
. 178
iv.
366.
• 437
ii.
128 .
. 290
iv.
253 .
•t5i3
iii. 21 .
. 482
V.
14 .
.+401
ii.
135 .
.478
iv.
254 .
.t494
iii. 23 .
.fSoi
V.
35 •
•+319
ii.
139 .
. 290
iv.
255 .
.+128
iv. 26 .
.+274
V.
36.
• 299
ii.
150 .
. +9
iv.
271 .
• 479
iv. 40 .
.t28l
V.
51 .
•+329
ii.
153 •
.+494
iv.
274 .
.47«
- {^3-
. 280
Act IL
ii.
154 •
• 399
iv.
{-=}rci...7
iv. Ill .
. 81
( (4)
i.
28 .
.+469
. 512
ii.
ii.
155 .
172 .
. +11
.458
iv.
iv.
279 .
290 .
.t28l
. 507
iv. 112 .
■ tioi
1.
32 •
ii.
177 .
.+468
/ 400
U513
1363
i.
37 •
.485
iii.
5 .
.+307
iv.
293 .
iv. 114 .
iv. i.s.
iv. 138 .
. 182
. 303
. 24
i.
i.
41 .
47 •
57 .
. 178
.287
.ti36
iii.
ui.
a-
. II
•t468
iv.
iv.
303 •
309 .
/+457
I484
.U70
INDEX,
475
Act tit. 1
Sc.
IJne
Par.
Sc.
Line
Par.
Sc.
Li.c
Par.
iv.
U39i
. 260
ii.
62 .
• 474
vi.
1516 .
. 479
Sc.
Line
Par.
ii.
63.
.438
vi.
212 .
•+5T3
i.
2 .
.t494
V.
8 .
. 24
ii.
64.
.508
vi.
214 .
P- 13
i.
5 •
■t399
V.
23 •
.t423
ii.
79 •
• 443
vi.
2r9 .
. 2S7
!.
II .
• 434
V.
vi.
40 .
96 .
. 290
. 191
ii.
©•
.+513
vi.
i^^sl-
+513
i.
. 266
vi.
105 .
. 290
u.
94 .
•+494
vi.
226 .
• 372
i.
33 •
. t9o
vi.
117 .
. 294
iii.
8 .
•+274
vi.
229 .
.+189
1.
i.
38.
.t28l
.438
vi.
vii.
vu.
121 . . 254
17 . . +90
30 . fol. 335
iii.
iii.
iii.
16 .
24 .
41 .
. 264
. 510
t68a
vi.
vi.
246.
253 •
|3i5
■I461
• + 319
i
55-
. 460
vii.
45 •
. 290
iii.
44 •
•+458
vi.
256.
.498
i.
42 .
• 513
54 •
iv.
8 .
• 307
vi.
259 •
•+5x3
i.
46.
. 186
vii.
vii.
.478
. (8)
iv.
iv.
9 .
17 •
• 93
.4^8
vi.
266 .
1337
^395
^•
52 .
vii.
61 .
. 428
iv.
20 .
. 484
vi.
282 .
. 492
i.
. (6)
vii.
65.
• 433
iv.
26 .
1 (9)
• 497
• 479
vi.
284.
• 294
ii.
ii.
5 .
8 .
•457'!
. (7)
vii.
vii.
69.
•+319
. 260
iv.
V.
28 .
3 •
vi.
vii.
vii.
288 .
4 •
9 •
•+342
• 395
. +76
ii.
ii.
54 •
59 •
419a
.I201
vii.
91 .
. 482
v.
13 •
(460
1294
vii.
17 .
• 430
ii.
61 .
. ti3
vii.
103 .
•+457
V.
24 .
+470
vii.
35 .
• 477
ii.
64.
. tii
Act IV.
vi.
3 •
2
vii.
36.
•|5o8
U33
ii.
ii.
ii.
iii.
65.
74 •
92 .
14 .
f t38
lt378
. 96
.486
. 290
i.
i.
i.
36.
47 •
51 .
457'*
•t274
(460
1+457
vi.
vi.
vi.
vi.
8 .
14 .
21 .
. 232
..+275
• 375
. 232
vii.
vii.
vii.
vii.
52 .
62 .
65 .
67.
.+480
• 5"
.+468
.t4o6
iii.
19 .
. Ill
i.
52 .
. 182
vi..
33 .
. 411
vii.
78.
.+457
iii.
22 .
•t343
i.
54 .
. 226
VI.
38
. 446
vii.
79 •
•+513
iv.
12 .
.t468
i.
73 •
.+322
vi.
41
. 212
83.
iv.
15
.txo7
|-
78.
.+129
vi.
45
• 14s
vii.
iv.
25
.t244
ii.
2 .
• 305
vi.
54
• 344
Act V
iv.
iv.
59
61
. 24
• 303
u.
ii.
6 .
10 .
•+494
• 395
. vi.
vi.
58
61
. 24
.+200
20 .
B
iv.
65
W. 335
ii.
©■
. 23s
vi.
68
. .+468
26 .
290
iv.
76
.467
ii.
26 .
. 482
vi.
71
. . 440
i.
28
. 477
i\-.
92
. +93
ii.
32 •
. 228
vi.
77
• • 417 -:
i.
32
. 479
iv.
iv.
112
+230
.+ 127
ii.
153)
. 260
vi.
vi.
112-
177
Ji . 5"
.. -484
i
i
45
60
■ 469
iv.
123
. 491
U,
60.
. ti6
vi.
xi^
. .461
L
«7
■ 421
476
Sc.
Line
Par.
2
.t2l8
20
.469
22
• 31S
48
.263
50
r 218
\t159
97
. 254
98
• 447
100
• 255
INDEX.
Sc.
Line
Par.
Sc.
Line
Par.
Sc.
Line
Par.
iii.
102 .
•tsrS
iii.
181 .
. 199
iii.
247 .
.t274
iii.
120 .
.382
iii.
202 .
• 51
iii.
£51 •
. 213
iii.
125 .
• 254
iii.
204 .
.178
iii.
255 .
• 441
iii.
138.
.t36i
iii.
208 .
.t499
iii.
262 .
f'^87
'(290
iii.
143 •
4285
iii.
213 .
.t223
iii.
T44 .
•t397
«!■
222 .
4513
iii.
266 .
. 26S
iii.
i48lft242or
i49j\ 1272
111.
iii.
234 •
239 •
• 333
.t5i3
iiu
iii.
274 .
282 .
. 24
. 461
iii.
168 .
.480
iii.
24s •
.469
(2) Folio, "too blame."
(3) 1 Hen. VI. iii. 3
10.
(i) A.W.v. 3. 297. y., , „...
(4) Folio, "and" (&) for "an." (5) Folio, "tended." (6) Hen. V. iv. 3. 35-6.
(7) Macbeth, iv. i. 59. (8) lb. v. 7. 1, 2. - - -
(9) But Folio, "impoi tuned.
LOVE'S LABOUR LOST.
Act L
43 •
176
65.
422
80 .
220
86 .
5
107 .
177
137 .
492
Act IL
2 .
274
18 . .
51
28 . .
168
42 . .
491
45 • •
485
107 . .
* 1
123
133
156
160
174
177
Act
153
Act
108 .
118 .
150 .
. . 500
. . Ill
. . 442
. . 460
. . log
. . 364
in.
IV.
. . 368
• . 368
• . 145
349
ju. 219 .
iii. 224 .
i". 345 •
Act V
.1 152 .
ii. 8 .
ii. 9 .
ii. 69 .
ii. 190 .
ii. 213 •
ii. 274 .
ii. 332 .
ii. 349 •
ii. 355 •
. 165
• 344
. 412
.283
• 344
.467
.460
• 430
. 487
. 200
.419'^
365
440
{464!
494
522
750
752
77S
11. 799
ii. 813
ii. 923
ii. 925
ii. 926
187
290
43''
184
19
333
144
I344
1418
434
285
178
90
MACBETH,
Act I.
I . .1504
12 . .\\t(i
3 • -479
5 . . 4S4
7 . .ts^
11. 20
ii. 34
ii. 37
ii. 41
186
• 171
. 5"
. 477
. S"
• S"
u. 43
ii
u. 51
ii. S3
45 • • 506
46 . • 323
• 5"
.t46o
«• =«•{/'?
• 433
•tsoi
.485
• 323
• 236
.1283
#
INDEX.
477
S:. Line ?xc.
Sc. Line Par.
Sc. Line Par.
Sc.
Line
Par.
m. 8.. .;;g
iii. 94 . .ti64
vii, 8 . .283
iii. 62 . . 470
100 .
. 158
vu. 23 . . 3
vii. 25 . .1283
vii. 26 . .ti30
iii. 64 . .t492
iii. 75 • . 513
iii. 109 . .tsii
103 .
105 .
107 .
. 48s
.468
. 162
iii. 107 . .t466
vii. 28 . . 506
108 .
U97
iii. 109 . .251
vii. 34 . . 329
112 .
•ti93
iii. Ill . . 466
vii. 50 . .t356
iii. {;;;}. .5^9
i.
ii8 .
• 473
iii. 120 . . 45
vii. 77 . . 12
Act IL
i. 5 • • 2"
iii. 127 . . 480
i.
i.
121 .
122 .
. 150
nil
- "'-es
i. {-}. . S.3
iii. 143 . • I
iii. .46. {'B"
i.
123 .
[nit
iii. 139 . . 467
i. 17 . •t470 .
i.
132 .
(t68
1378
iii. 144 . .1295
=• ■^- u
iv. 4 . • 290
iii. 147 . .1336
iv. 10 . . 4J8
'•
139 .
•t497
iii. 154 . . 202
i. 20 . . 485
iv. 14 . . 471
ii.
II .
12
ti97
iv. 3 • •t343
i. 24 . . 473
iv. 17 . .tio7
I 468
iv. 8 . . 93
i. ^. .U.3
V. 32 . .t5i3
ii.
13 •
• 513
iv, 9 . . 295
ii.
28 .
. 460
i. 36 . • 3
i. 41 . • 5"
Act in.
i. 14 . . 12
i- '7 • {t27o
ii.
ii.
ii.
30 .
32 .
33 .
•t477
.284
• 453
V. 19 . . 329
i. SI . . 484
i- ^s. -U*
ii.
49 •
. (2)
V. 21 . .t244
i. 57 . .t4i4
ii.
51 •
.t5ii
V. 26 . .+212
i. 61 . . 333
i. 40 . . 5"
iii.
2 .
. 308
V. 28 . .+491
'• 30. {Jag
ii. 4 • • 473
ii. 7 . .+283
i- »■ K^.
iii.
iii.
4 •
6 .
. 187
. 290
V. 40 . . 477
ii. 21 . . 511
I ©. .5.=
iv.
2 .
.468
V. 45 . .t49o
ii. 24 . . 283
i. 49 . . 385
iv.
flsl.
• 513
V. 49 . . 467
ii. 25 . . 479
i. 51 . .f329
Uo)
V. 50 . . t3
V, 52 . . t20
ii. 28 . . 107
ii. 29 . . 199
i. 52 . . 185
i 54 . . "8
Iv.
34 •
f t24
V. 58 . . 484
ii. 30 . .+500
i. 65 . . 460
36.
•{41
V. 62 . . 511
ii. 40 . .1467
i. 74 . . 244
iv.
vi. 3 . .t47i
ii. 57(pun) (i)
i. P- •4^8
iv.
37
•t494
vi. 17 . .14x9
ii. 63 . .t5ii
iv.
42
t274
vi. 19 . .ti8s
ii- 73 • • 357
i. 89 . .t28i
i.v.
57
. 315
vi. 30 . 492
iii. a . . 93
»• 9S • • 374
iv.
ss.
• 453
78
INDEX.
Sc.
Line
Par.
Sc.
Line Par.
Sc.
Line
Par.
Sc.
Line ]
iv.
6i .
.ti6
i.
153 . • 497
iii.
152 .
• IS
iv.
6 . .
iv.
64.
. 187
ii.
23 • -399
iii.
U59/
. 200
iv.
8 . .
iv.
66 .
• 491
ii.
27 . . 282
.(274
U14
iv.
12 . .
iv.
121 .
.468
K.
{P}- -'5.3
37 . .154
iii.
i7i .
iv.
19 . .
iv.
126 .
/473
\252
ii.
iii.
iii.
173 •
177 .
. 131
4477
V.
%]■ ■'
IV.
131 •
. 81
ii.
64 . .t5i3
iii.
184.
• 94
V.
13 • .
iv.
133 •
/478
•I485
ii.
ii.
70 • • 357
73- -+466
iii.
185.
I287
•I288
V.
V.
30 . .-f
31 • •
iv.
138.
.384
ii.
•«^ • -CI?
iii.
191 .
4403
V.
49 • •
iv.
139 .
. 405
iii.
194 .
• 329
vi.
5 • 4
v.
I .
• 447-
iii.
10 . . 189
iii.
210 .
.t200
vi.
7 • 4
V.
10 .
.t27I
iii.
11 . . 252
iii.
212 .
. 3H
vii.
2 . .-1
V.
V.
21 .
31 •
.498
.460
iii.
iii.
16 . . 403
{:i}- -'5.3
iii.
&■
4513
vii.
4 . 4
vi.
2 .
. 420
iii.
222 .
• 279
vii.
18 . .
vi.
8 .
• 477
iii.
28 . . SIX
iii.
235 .
. 447
vii.
22 . .1
vi.
19 .
4322
iii.
iii.
239 .
.468
vii.
28 . .
vi.
21 .
.460
iii.
47 . . 31S
Act V
viii.
4 • •
vi.
27 .
. 170
iii.
48 . . 202
viii.
7 • 4
vi.
vi.
vi.
30 •
38.
41 .
.t498
.1342
.t220
iii.
iii.
74 • • 277
i.
i.
12 . . 450
29 fol. 471
66 . . 266
viii.
viii.
viii.
9 . .
13 • .
18 . .
vi.
42 .
• 257
iii.
8b . . 217
*•
75 .
. 252
viii.
22 . .
vi.
48.
419^
iii.
iii.
82 . .1283
91 ■ -1513
ii.
ii.
4 .
20 .
. 92
.t55
viii.
viii.
34 . •
40 . .
Act IV.
iii.
93 • • 492
ii.
22 .
.356
i.
i.
i.
6 .
20 .
59 .
65 .
89.
. 484
• 504
. (3)
• 344
.t468
iii.
iii.
iii.
iii.
iii.
97 • .t498
106 . . 287
III .fol. 480
125 . . 148
133 • • 429
iii.
iii.
iii.
iii.
iii.
5 •
7 .
13 •
19 .
25 .
37"
40 .
. 496
.ti9i
4335
• 513
• "3
viii.
viii.
viii.
viii.
viii.
41 •. ^ +
48. .
64 . .
65. A
66 . 4
{;3^}-
.485
iii.
137 . .1463
iii.
.t23I
viii.
72 . .
1.
iii.
139 • 4513
I57J
n ■
i.
145 .
.t343
iii.
148 . . 429
iv.
2 .
.1284
viii.
(i) Compare Macl
eik, V
8.48.
§?:
■h. Ill
iv. 4. 17.
(3)
Lear,
111. 2. 8.
(4) Jb. iii. 7
6-1.
npare ii. 3. 6«.
INDEX
479
MEASURE FOR MEASURE.
Act
Sc. Line
!• 42 .
i. S2 .
i. 54 •
i. 56.
i. 69 .
ii. 4 •
ii. 24 .
ii. 129 .
ii. 163 .
ii.
189.
iii.
21 .
lii.
39 •
iii.
49 .
ir.
S •
ir.
26 .
iv.
28 .
iv.
70 .
iv.
79 .
Act
i.
15 .
i.
28 .
i.
33 .
ii.
9 •
ii.
12 .
ii.
16 .
ii.
33 •
li.
46.
ii.
52 .
ii.
60 .
ii.
98
Par.
• 491
• 474
. 67
. SOI
. 290
. 228
. 64
. 494
• 419
. 367
. 87
I467
1503
. 17
. 498
. 230
• 394
i423
'1469
. 469
. 394
. 151
. 469
. 500
I500
. II
. 244
. 422
. 312
. 408
. 492
Sc. Line
ii. 102 .
Par.
266
lis .
. 340
119 .
.. 394
1S6.
. soo
159 •
.486
160 .
. 500
180 .
. 468
42 .
• 174
57 .
. 492
74 •
. 503
80 .
• 342
102 .
. 186
104 .
. 500
Ill .
.461
118 .
133 •
141 .
153 •
170 .
171 •
172 .
.478
. SOI
• 390
. 500
. 86
• 5
.361
• 453
Act IIL
I 1^77
' • -1469
5 . -501
(Fol.)2o. 340
28 . . 484
32 . . 501
43 • • 357
4S . . 469
Sc.
Line
i. 86 .
i. 89.
i. 107 .
i. 121 .
i. 240 .
ii. 32 .
ii. 38 .
ii. 86 .
ii. 100 .
ii. 126 .
ii. 138 .
ii. i6s .
ii. 172 .
ii. 224 .
in-
«-e
Par
• 513
• 495
• 512
• 375
. 86
.467
. 298
• 396
. 226
• 93
• 77
• 244
• 309
• 145
• 504
Act IV.
78. .
90 . .
92 . .
95
97
103
[II
u.
ii.
ii. 150
ii. 172
ii. 220
iii. 78
iii. 130
iii- 133
iii. 138
iii. 144
iii. 14s
. 501
• 403
.460
. 122
. 276
.461
. 278
. 127
• 93
• 325
• 301
. 508
. 492
• 349
.468
. 498
Sc.
147 .
469
185 .
6
21 .
315
2S .
290
6 .
467
13 •
i398
1474
14 •
192
Act V.
I
36 ■
'397
U74
so .
.369
SI •
/501
•1503
65.
. 503
74 •
• 114
131 •
.461
145 •
p. 16
237 •
. 127
240 .
(480
255 .
• 41
305 •
.265
314 •
.484
315 •
.482
347 •
. 196
368.
• 233
400 .
. 260
408.
.498
494 •
. 29
496.
. 480
498.
• S03
534 .
• 51
43o >
' INDEX,
MERCHANT OF VENICE.
Act I.
Sc. Line Par.
ii. 109 . . 93
Sc. Line Par.
i. 19 . .t2l8
Sc Lii« Par.
vi. sa . .ti25
Line Par.
iii. 4 • -+270
i. 42 . • i89
vii. I . -+439
- J 40s
5- \t511
8 . .479
ft307
iii. 12 . . (5)
i. 43 • -+406
ii. C^}. .t356
viL {4}. . .64
vii. hV . 501
17 . . t69
iii. 22 . . (6)
ii. 45 . • i6S
i9
22 . . 453
r^nl
vii. 43 • • 349
26 . .tii8
-• U- • '='
ii. ^. 4.3.
vii. 53 . . 187
35. • 38
38 . .t29S
m. {«y .t.7.
ii. 104 . . 17s
ii. T08 . . 460
vii. 71 . . 275
viii. 25 . .t368
50 . .tsoo
iii. 63 . .tx78
ii. us • • 220
viii. 29 . . 474
54 . -+490
iii. 6s . . 295
ii. 124 . . 349
viii. 33 • -+230
55. .t89
iii. 74 • • "°
ii. 161 . .+226
via- 4-{*:g
69 . .469
74 • . 191
B^. til
iii. 8s . . 220
iii. 89 . .1291
iii. 98 . -+469
ii. 169 . . 185
ix. 14 . . 511
iii. 107 . .+372
ii. 189 . .t2i2
ix. 26 . . 145
93. .257
iii. no . . +69
ii. 194 • -Uoi
ix. 28 . .t495
98 . . 399
iii. 119 . .+290
iv. I . . 161
ix. 51 . -+501
III . . 490
iii. 126 . . 499
f 220
XV. 4. |ti74
ix. 61 . . 492
126 . . 356
iii. 137 . • 249
iv. S . -+307
ix. 68 . . 345
• 143 . or
It 500
iii. 140 . -+426
iv. 6 . .+343
ix. 90 . • 451
iii. 143 • • 5U
iii. 146 . .+219
iv. .o.{,.S
ix. 91 . . 76
Act III.
. 144 • • 430
iii. 150 • • 148
iv. 24 . . 171
i. 2 . . 76
. 148 . • 20
iii. 162 . . 256
iv. 40 • • 315
i. 8 . .ti73
(tiio
• 150 • i+136
I. 54 • . 356
iii. 167 . . 495
V. 17 . •ti40
V. 37 . -nt
i. 57. •i98«
i. 110 . . 198
ii. 2 . . 372
i. 160 . . (3)
iii. 176 . . t3
ii. 16 . . 462
i. 163. . 68«
i, 166 . .ti87
Act n.
V. 47 • -+430
V. 52 • • 319
1. 175 . -+244
i. 3 • .+264
vi. 2 . .tsoo
i. 178 . . 466
i. 7 • • +1°
vi. 23 . .t297
ii. 21 . .t2l5
i. 185 . -ties
i. 8 . 4490
vi. 24 . . 483
ii. 29 . .200
i. 7-9 • -+232
i. 9 • ' 291
vi. 30 . .t274
ii. 61 . . 361
i. 66 . .ti40
i. 75 . 19
L 100 . 32*
i. 16 . . 198
vL 40 • • 314
vi J4 • • 323
ii. 63 (8)
ii. 64 . -+136
INDEX
48
Sc. Line
Par.
Sc.
Line Par.
Sc
. Line
Par.
Sc. Line Par.
ii. 93 .
. 123
ii.
279 • . 144
• 57 •
•+399
i. 431 . . 356
/(9)
'I247
ii.
ii.
283 . . 194
29s . . 398
. 76.
• 77 •
.382
• 344
i. 444 . . 460
i. 445 • • (12)
ii. 96 .
.381
ii.
310 . . +30
. 90 .
.t87
i. 451 . . 488
ii. 97 .
ii. 109 ,
ii. Ill .
ii. IIS.
. 294
. 113
. 5"
.tso6
ii.
iii.
iii.
iii.
321 . . 209
15 . . 92
25 • • 354
i
i
. 104 .
. 127 .
. 192
•+513
• 479
«■ "'-re??
Act V.
ii. 117 .
. 136
iii.
30. .+287
i
. 128 .
.(11)
i.{j&c.; .161
ii. 120 .
.t323
iv.
3 • -467
i
• 134 •
•376
ii. 124 .
.466
iv.
14 • . 25
i
. 14s .
315
i. II . . 341
ii. 127 ,
. 46
iv.
21 . . 157
. 164.
•T263
i. 20 . . 510
ii. 164 .
ii. 165 .
.tsoi
. 127
• 4<'4
iv.
iv.
iv.
22 . . t93
25 • • 451
30 • • 397
i
166 .
. 182 .
224 .
. 414
• 314
• 233
i. 25 . . +89
i. 56 . . 159
'• "-mi
ii. 169 .
• 472
iv.
40 . . 348
i
242 .
. 180
i. 94 . .1276
ii. 178 .
. 38
.t420
iv-
iv.
46. . +2
i
i
i
255 .
261 .
272 .
. 471
• 370
. 490
i. 103 . . 200
i. 148 . . 508
i. 159 . (12)
u .66. {Hi
ii. 180 .
ii. 193 •
+343
.158
iv.
iv.
72 . . 32
75. .+283
i
i
. 27s .
283.
.t200
. 266
ii. 205 .
ii. 211 .
• 341
.+133
v.
v.
3 . .t200
73 . . +87
i
298 .
. 309 .
. 492
.+93
i. 169 . . 472
i. 175 . . 462
U 221 .
•+494
v.
89 . . 172
• 312-4
.+513
i. 176 . . (12)
V 224 .
. 287
Act IV.
327 .
. 14
i. 177 . .t23o
il. 226 .
. 16
i.
I . .+500
332 .
.+342
i. 200 . . 218
<. 230 .
ii. 233 .
ii. I^34\
1242
•+513
.+360
.+30
.+469
i.
1;
5 . .+442
8 . .490
9 . .+285
22 . . 134
35 . . 295
351 .
355 •
368.
379 •
382.
.368
. 163
.348
• 455
.+133
>• =°^hapst35<
i. 203 . . tsi
1. 205 . .t494
ii. 252 .
. 494
47 • -+244
387.
.+59
i. 272 . . t38
ii. 254 .
. 473
51. .(10)
389-
. 394
i. 297 . . 171
ii. 275 .
.t322
*■
{S}- '-^
i.
402 .
. 174
i. 298 . . 461
(1) Marheth, V. 2.
5.
(2) C. ^/^. i. 2.88
• (3)
P. of T. iv. Prologue, 45.
(4) R. and y. ii. 3
54.
(5) Coriol. i. I.
16.
(6) A.Y. L. il. 7. 57.
(7) Folio,
" and."
(ja) Folio, "put?
."
(8) M. Ado, iii. 2. 31.
(9) Folio,
" makes
" (
10) Folio, "masters.
" So Tempest, ii. i. 6. Compare
•'Where be thy m
istres,
(
man ? I would spea
ik with k
er."— B. and F. Coxcomb,
2. 3 ad fit
ii) Compare " invali
able."
(12) Folio, "and."
(13) Macbeth, ii. 3
2.
'14) V.^..
1
'. 3-
I
ro.
(15) F.
jlio, "too blame."
412
INDEX.
MERRY WIVES OF WINDSOR.
Alt «.
Sc.
Line Par
Sc. Lue Par.
=*' • -{Sa^
iii I . . 237
ii.
50 . . 25
278 . . 41
JY 80 . . 175
Act III.
Act II.
i.
113 . . 189
299
284
Sc.
Line
Par.
97
i475
• -1480
103
• • 57
100
. . 148
Act
IV.
So
• • 349
5
• • 194
Sc.
Line Par.
iv.
- • -U
iv.
87 . .207
V.
26 . . 38
Act V.
V.
72 . . a
V.
231 • • 37
MIDSUMMER NIGHT'S DREAM.
ACTl
i.
182 .
• ts
4 •
. 290
i.
184 .
. 83
39 •
. 133
i.
1S8 .
. 237
45 .
tp-i3
i.
205 .
• 425
69.
.t466
i.
212 .
. t69
71 •
. t9o
i.
225 .
4365
{^fi-
.1281
i-
226 .
. 21
76.
. ti
i.
229 .
.tii8
81 .
. 201
i.
231 .
.ti78
100 .
.t295
i-
232 .
. (i)
103 .
.t27I
i-
237 •
- 450
104 .
.ti70
i.
245 •
. 66
Ill .
•t275
i-
251 .
.t356
117 .
.ti49
ii.
u-
4230
123 .
• 30
. ti
ii.
25 .
126 .
. 421
ii.
27 .
.+93
141 .
.t30i
,.
. (2)
11.
52 .
151 •
. 490
^^-
156.
.t469
ii.
.+283
160 .
tp. 13
ii.
86 .
. 104
164.
. 156
ii.
90 .
• t25
173 •
• 43"
ii.
95 •
.+221
!:;^y
.t343
ii.
tos .
.t49^
Act II.
I
• 3
;478
I466
7 •
484
9 •
t356
14 .
+349
19 .
+369
21 .
+287
23 ■
487
24 .
+329
tl2I
30 .
+283
32 •
466
34 •
224
35 •
+468
r35-l
I39J
415
42
506
48.
+ 16
56.
332
S8.
484
67.
290
72 .
• 314
83.
• 347
91 .
1247
92 .
tp- 13
95 .
.t228
105 .
• 492
106 .
•+478
112 .
. 290
127 .
. + 462
138.
349
146.
•t405
149 •
• 132
158 .
• 145
160 .
.tio7
161 .
. 312
164 .
• 430
171 .
.+136
179 .
tl
191 .
•+295
201 .
.t4o6
202 .
.+466
220
. 287
327
t223
Sc. Line
i. 232 .
»• 237 •
i. 244 .
i. 240 .
i. 253 .
i. 266 .
i. 267 .
i. 268 .
ii- 35 •
it. 36 .
ii. 44 .
ii. 65 .
11. 154
ii. 156
Par.
•t457
. + 122
•t356
. 480
j\68a
•\i76
. 180
.+369
• 315
•ti93
•t343
. t76
4365
• 504
. (4)
.t470
/ (2)
\t105
1 169
I 29
.1466
Act III.
2 . . ti
.+461
. +11
. 221
• 174
• 333
33
44
84
t]
126
hB5\
\193l
3
15
. 501
• 348
• 174
• (S)
•ti59
• 474
Sc
ii
ii.
Line
26 .
ii. 45 .
ii. 49 .
ii. 78 .
ii. 81 .
ii. 90 .
ii. 97 .
ii. 99 •
ii. 104 .
ii. 119 .
ii. 132 .
11. 123 .
ii. 124 .
ii. 153 •
ii. 1^9 .
ii. 171
ii. 236
11. 204 .
ii. 206 .
ii. 225 .
ii. 237 .
ii. 272 .
ii. 279 .
ii. 282 .
ii. 290 .
ii. 292 .
ii. 302 .
ii. 314 •
ii. 321 .
ii- 331 •
ii. 334 .
ii. 337 .
ii. 339 .
INDEX.
Par.
. 217
•t233
•+323
.tS"
. (2)
.t466
.ti68
• 247
. 142
. +89
. 18
. 328
I (6)
•1336
. 417
. 356
. +53
. 4')0
4Q2
. 43«>
.+465
.+178
. t38
• 492
. 490
.t456
. 477
. 451
. 476
. 19
.+133
.+469
.t2l8
. +52
• 409
.ti68
Sc.
Line
Par.
ii.
35i •
. 460
ii.
|358l
1359)
. 27s
ii.
360.
. 169
ii.
365.
. 450
ii.
368.
.+228
ii.
373 •
. tgo
ii.
377 .
. t89
ii.
384.
• 450
ii.
385.
. 203
ii.
386.
.t49o
ii.
402 .
. 374
ii.
437 •
. 484
ii.
439 .
. 486
ii.
438.
. 333
ii.
442 .
. 52
Act IV.
21
40
47
57
67
71
72
74
lOI
109
128
133
137
I142
i. 150
i. 163
. . 479
. . (7)
. . 484
• . 457
. . t89
. . 284
. . tl2
• • 399
. .tl27
• • 457
. . 284
. . 174
. . 284
. .tl29
[. .t28l
? . 197
. . 486
Sc. Line
i. 189 .
ii. 9 .
ii. 16 .
ii. 21 .
ii. 29 .
483
Par.
](8>
•(484
. 409
.t335
. (2)
. 405
Act V.
27 .
34 •
43 .
59 .
76 .
91 .
98 .
143 .
U50J
164 .
171 .
195 .
225 .
227 .
252 .
255 .
318 .
325 .
379 .
381 .
387 .
403 .
i422r
.t244
•t307
•+279
• 378
. t47
• 431
. 179
.t477
.t97
. Sio
• 399
+291
. 82
. 49-^
. 374
. (2)
. 82
. 43c
. 409
. t24
• t37
. 273
. 438
. 44J
. 284
.U26
• 34f>
(i) Hamlet, iii. 2. 177.
(4) A W. V. 3. 297.
Cr* L. L. L. V. 1. 103-4
(2) Folio, " and."
(5) Hamlet, iii. 2. 188.
(8) Folio varies.
(3) Folio, "hath."
(6) Folio, "comes.
484
INDEX
MUCH ADO ABOUT NOTHING.
Act I
Sc.
Line Par.
Sc.
Line
Par.
Sc.
Line
Par.
i.
375
. 14
ii.
27 .
. 404
220 .
. 187
ic. Line
Par.
..
56.
i. 126 .
. 118
11.
13
. 62
iii.
. 404
^•
225 .
. 191
i. 303.
. 284
ii.
20
. 404
iii.
86
. 120
i.
227 .
• 423
L 307 .
. 90
ii.
53
. 93
iv.
9
. 400
i-
251 .
. 378
i. 311 .
. 194
ii.
57
• 423
iv.
18
. 400
ii.
I .
. 295
i. 318 .
. 297
iii.
81
. 327
iv.
44
. 81
ii.
33 .
. 81
i. 320 .
. 57
iii.
88
. 3
ii.
63.
S95
U. 4.
. 347
iii.
119
. 331
Act IV
.
ii. 22 .
iii. 32 .
. 296
. 122
Act
in.
24 .
. 212
Act V
IH. 49 .
. 148
i.
I
'I507
40 .
46.
.368
.480
i.
i.
22 .
116 .
. 379
^. 193
Act II
i.
4
. . 200
144 .
. 278
i.
212 .
. 57
i.
12
ii99
• -1480
156.
. 399
i.
249 .
.238
i. 189.
. 472
168 .
. 247
i.
253 •
. 347
L 208 .
i. 244 .
i. 261 .
. 321
i.
i.
42
60
• 349
. 46
i.
fl82-\
\i86
196.
.364
i.
258.
. 191
. 187
.360
i.
72
(to)
.158
i.
• 343
*i321
i.
260 .
327 •
.284
. 166
i. 272 .
. 175
i.
{'4
. 193
i.
211 .
iv.
62 .
. 7
i. 3".
. 166
i.
93
. 118
OTHI
i.
:llo
216.
. Ill
iv.
59 .
• 177
Act I.
1. 26 .
i. 38.
ii.
ii.
18 .
52 .
. 471
. 274
iii.
165.
i369
•U14
i.
i.
67.
70 .
. 400
. 440
. 447
.361
ii.
53
•{^S
iii.
iii.
191 .
267.
. 460
.368
i.
i.
83.
87 .
. 333
• 440
t 44.
• 315
ii.
71 .
. 405
iii.
269.
. 151
(268
*l3o»
i. 55 .
. 512
U.
72 .
.365
iii.
283.
. 247
^'
149 .
i. 99.
. 439
ii.
93 •
. 161
iii.
390 .
• 331
i.
159 .
. 301
i. 100 .
. 191
iii.
55 •
. 67
iii.
403 •
. 451
i-
260 .
. 241
i. 124.
. 435
iii.
62 .
. 350
ii.
3 .
. IS
i. 126 .
127
*l497
iii.
74
. 160
(202
•U23
Act II
iii.
iii.
49 •
144 .
. 297
. 342
i. 132.
.158
iii.
91
*•
13 •
• .^43
iii.
145 •
• 479
i. 151 .
. 22
iii.
129
. 201
^•
• 440
iii.
152 .
. 444
L 158.
. 348
iii.
140
I419
•U28
»•
19 .
.368
iii.
188 .
. 295
i. 172 .
. 335
(69
I330
i.
24 .
. 89
iii.
190 .
. 349
L 180.
• 30
iii.
147
i.
31 .
• 243
iii.
203 .
. 404
INDEX.
Sc. Line
Par.
Sc.
Line
Par.
Act IV
iii. 213 . .
163
iii.
211 .
• 73
Sc.
Line
Par.
iii. 216 .
163
iii.
212 .
. 174
i.
28 .
353
iii. 217 . .
iii. 301 . .
477
443
iii.
iii.
238.
265.
. 42
. 295
i.
fe}-
5"
iii 319 •
81
iii.
282 .
.|73
I513
i.
i.
43 .
72 .
247
492
iii 344 .
461
iii.
384.
. 299
i.
80 .
460
iii. 351 . .
440
82 .
iii.
417 .
• 279
1.
440
iii, 368 .
440
.
iv.
22 .
. 93
1.
125 .
247
Act III
iv.
25 .
. 466
i-
188 .
24
iv.
44 •
• 483
ii.
3 .
2H
. soo
iv.
105 .
• 447
ii.
II .
349
iii. 66 .
29
iv.
150 .
.469
ii.
13 •
. 12
iii. 157 .
. 251
iv.
195 .
. 294
ii.
99.
. 274
Sc, Line
ii. 108 .
ii. 130 .
ii. 134 •
iii. 32 .
4S5
Par.
• 295
p. 16
• 5"
fl22
*li44
Act V.
. 36X
. 299
. 460
(419a
I239
. 490
• 59
. 310
PERICLES.
Act I.
Jower II . . 285
» 38 • • 377
i. 14 . • 244
i. 41
59
153
. 247
J 244
•Uoo
91 . . 512
93 • -460
. 229
• 350
. 238
39 • • 264
92 . . 42
33 • • 264
Act II.
Gower, 8 • . 244
35 • • 404
28 . . 332
332
5
(201
•1460
. 24
iii. 80 . .179
V. 13 • • 480
V. 17 . . 350
Act III.
Gower, 14 . . 290
» 35
i. 45
u.
17
. 345
. 128
1350
Act IV.
Gower, 23 . 465
i. 23 . . 37
25 . .
Act V.
i. 125 .
i. 170 . .
i. 208 . .
i. 251 . .
u. 285 . .
iii. 38 . .
185
145
234
419
3
198
RICHARD n.
VCT I.
i. 90 .
. 270
i. 104 .
.269
12 . .+494
5. 129 .
.+131
20 . . 480
i. 145 .
. 162
22 . . 12
i. 150 .
• 174
?3- ••-
i. 160 .
.t3i5
i. 162 .
• 73«
85 . . 290
i. 171 .
. 529
173 •
180 .
190 .
WoA
1205/
6 .
/+270
\ 22
.t2l8
. 522
• 529
f3"
U89
.+364
.t264
"• ((.)ii}- -^40,
ii. 23 . . zo
ii. 30 . .fif*
ii. 36 . .t46cv
ii. 39 . .t27o
;■;• ->■ %^.
ii. 42 . . 296
(«) Lines 18 and 19 are perhaps to be transposed. Comp., however, W. T. iii. a. 165
486
INDEX.
Sc.
line Par.
Sc.
Line
Par.
Sc. Liue
Par.
Sc
Line Par.
ii.
44 . . 480
iii.
232 .
. 380
i. 106 .
. 156
ii.
2 . .194'
li.
54 . . 68a
iii.
iii.
iii.
233 •
243 .
247 .
. 191
. 356
. 65
■■ IS)-
i. 108 .
295
265
ii.
ii.
9 . . 27
{.'If- ■ '^3
ii.
73 • • 475
iii.
259 .
. 380
i. 129 .
5
ii.
- -{ii
iii.
3 • .397
iii.
264.
.+263
i- 134 . .
434
iii.
iii.
9 . .447
15 . . no
iii.
260 .
. 291
i 1^41)
'■ ti47/-
46S
ii.
ii.
18 . . 492
25 . . 498
iii.
279 .
• 505
i. 148 .
482
iii.
17 . . 263
iii.
283.
.+490
i. 157 •
268
ii.
27 . .t494
iii.
^3 • \t178
iii.
286 .
.+252
i. 158 .
ti3o
ii.
29 . . 497
iii.
26 . .+512
iii.
301 .
• t94
i. 159 . .
+ 151
ii.
3°- ■{.%.
iii.
34 • • 133
iv.
II .
.t5I2
i. 169 . .
t4o8
ii.
34 . . t69
iiL
36 . .t263
iv.
12 .
.ti5i
i. 173 • •
(84
fi.
41 . 4468
iii.
43 . • 2
66 . .+447
iv.
22 .
.1368
^^44
ii.
46 . . 291
iii.
iv.
4107
i. i^o2l f338
tFol.l i433
ii.
52 . . 244
iii.
76 - . t24
iv.
42 .
. 20
i. 211 . .ti37
ii.
iii.
80 . . 476
iv.
43 .
.tisi
i. 217 . . 479
iii.
82 . . 490
iv.
49 .
. 348
• \t2
i. 218 . .t405
i.
iii.
95 . . 107
iv.
S3 .
i. 222 . . 13
ii.
59 . .t343
iii.
n8 . . 482
i. 232 . .+329
ii.
61 . .t5ii
iii.
123 . .t5I2
Act II
i. 239 . 17
ii.
75 . . fs
(125|
i. 242 . .t25i
ii
76 . .+497
iii.
iii.
iii.
127 k .+151
(129J
127 . .t49o
136. . 89
3 .
9 .
. 199
. 260
L 247 . .t497
i. 248 . .1463
ii.
ii.
ii.
80 . .+243
88 . .+465
90 . . 512
(484
14 .
• 343
^ -• {*:;?
ii.
91 . .+497
iii.
151 . ■{ or
V490
164 . .t2l8
16.
. 290
ii
95 . . 356
iii.
i8 .
• "3
i. 251 . . 24
ii.
96 . .+513
iii.
166 , . 440
19 .
27 .
29 .
49 •
. 22
f28
i. 254. (Fol.
omits "noble.")
ii.
ii.
98 . . 155
103 . . 512
iii.
iii.
iii.
175 . • 460
183 . .1315
196 . . 490
20
11
i. 266 . . p. la
ii.
ii.
105 . . 497
iu.
20I . . 84
52 •
146
i. 268 . . 375
ii.
114 . . 508
iii.
205 . . t28
79 .
90 . .
203
t24
qs:)- -^^
ii.
119 ./(Fol.)
1 Castle
iu.
91 . .
t94
i, 289 . .t36i
- • {..;^
iii.
209 . .490
Q4 . .
470
i. 291 . . 315
iL
iii.
211 . .t377
i-
99 • •
268
i. 300. . 364
ii.
128 . . 244
iJL
217 . .t40.o
i.
102 . -
Mfi '
ii- 5 . .
5x 1
ill.
5 . . 333
%(,
INDEX.
487
Sc.
Line Par.
Sc. Line Par.
Sc. Line
Par.
Sc. Line
Par.
iu.
7 . .492
i. 16 . . +89
iii. 89 .
. 218
i. 28 .
i 28
.+287
(105
iii.
iii.
10 . . T62
IS . .t46o
i. 29 . .t497
ii. 2 . . 482
iii. 98 .
iii. 103 .
• 529
.+506
i. 33.
iii.
18 . ,t494
ii. 3 . .t497
iii. 118 .
. i89
i. 49 .
iii.
20 . . 506
ii. 4 • • 25
iii. 120 .
.+497
i. 57.
. 220
iii.
21 . . 478
ii. 5 . .t356
iii. 126 .
.t45i
i. 62 .
. 90
iii.
23 . -tsis
iL 8 . . I94
iii. 146 .
. +24
i. 89.
.t495
iii.
24 . . 497
ii. 34 . tp. 12
iii. 168 .
. 335
i. 93.
. 82
iii.
iii.
25 . . 512
26 . .t5i3
"•{§)}• .t46o
ill. 184 .
iii. 191
.+468
.t356
i. 94 .
i. 96.
. 290
(290
I296
(U97
ii. 64 . . 478
iii. 192 .
. 230
iii.
29. j or
(+501
ii. 80 . .t3i9
iv. II
.t5i3
i. 104 .
.485
iii.
33 . -1466
ii. 113 . . 468
iv. 14
.+291
i. H2 .
.484
iii.
55 • . 456
ii. 130 . .t467
iv. 24|
iv. 28
--1
Fol.335
505
•ti93
i. 117 .
•tigo
iii.
iii.
62 . . 397
67 . . 506
ii. 131 . . +22
ii. 140 . . 294
i. 120 .
i. 123.
.+291
.tl20
iii.
80 . . 20
ii. 141 . .+335
- {3^}
. 268
i. 129 .
• 95
iii.
87 . . 292
ii. 163 . . 200
iv. 55
• 5"
i. 139 .
.t349
iii.
100 . .1384
ii. 168 . . 378
iv. 57
. 89
i. 148 .
.460
iii.
iii.
104 . .t49i
107 . . 181
"• -75 . .{'^J
iv. 63
iv. 67
.+506
•+315
i. 151 .
i. 171 .
.+467
.+501
iii.
123 . .t287
ii. 179 • • 59
ii. 183 . .t356
iv. 74
.498
i. 178 .
i. 182 .
.+480
. 512
p. 290
• 447
. 216
iii.
iii.
iii.
124 . .1469
127 . .I322
ii. 185 . . 134
ii. 186 . . 174
ii. 198 . . 5
iv. 77
iv. 80
iv. 83
.419a;
• 145
.t243
i. 185 .
L 205 .
i. 217 .
iii.
138 . . 204
- »4.{,-i^
iv. 102
iv. 104
. 133
. .+291
i. 224 .
.t494
iii.
145 . • 310
iii. 9 . .487
i. 237 .
. 192
iii.
160 . . 159
iii. 12 . . 281
i. 238 .
. 287
iii.
i'.6i . . 296
iii. 17 . .+244
Act
IV.
i. 256 .
.+244
iii.
ira . .t497
Iii. 19 . . 506
Sc. Line
Par.
i. 264 if) tio3
iv.
II , 294
iii. 3t . .+512
i. 15
. 466
i. 270 .
• 340
iv.
i.
18 . «2
Act III,
/ 59
3 • '\jg8
iii. 35 . . 511
iii. 45 . . 272
iii. 61 . . 414
i. 17
i. 18
i. 19
/390
* '1477
. .+196
. -tsoo
i. 300 .
i. 306 .
i. 326 .
i. 329 .
.+218
. 189
.+512
.t497
L
^ 1 1494
iii. 64 . . 157
iii. 70 . .+468
>•©
. . 281
i. 334 .
Mh
Ii) Read "
"rom off a 'nointed ; "
if) FoUo, "
or, as Folio,
and if."
"From a
a anointed."
INDEX.
Act V.
Sc
Line
Par.
i.
31 •
.t356
i.
37 .
. 41
i.
38.
. 28s
i.
44 .
. 225
i.
46.
• 75
r.
47 .
. 200
I.
62 .
.t268
i.
64.
• 5.2
\.
77 .
. 291
i.
80.
• 473
i.
88 .
.478
i.
90 .
. 82
i.
91 .
•t470
i.
94 .
. 372
ii.
n
.t28s
ii.
t8 .
. 80
ii.
28 .
. 512
ii.
48.
.f4o6
ii.
S3 .
• 505
Sc.
Line
55? •
56.
57 .
59 .
{^$
75 .
78.
97 •
99 .
lOI .
"5 .
4 .
5 .
10 .
17 •
21 .
27 .
34 •
5° .
52 .
Par,
V'it"
[ om.)
. 197
• 484
. 368
• 499
• 15s
. 497
. 468
• 53
.t5I2
. 122
.ti9o
. 144
. 272
. 473
.t499
. 356
. i8i
•t349
. 296
Sc. Line
Par.
■t372
iii. 88 . . 387
iii. 97 • . 190
iii. loi . < or
^497
iii. 103 . .1329
iii.xx3{„Si..}txo3
i+149
1466
. 414
/t244
I 499
ui. 137
iv. I
» . .257
3 . -151
5 • 529 «.
8 . .169
17 . . 465
18 . ,t243
22 . .ti5i
25 . .+406
27 . . 284
Sc. Line
V. 52 .
V. 54 .
V. 54-7 .
V. 56 .
V. 61 .
V. 62 .
V. 64 .
V. 66 .
- {§)•
69.
70 .
75 •
76.
83-
6 .
26 .
RICHARD in.
Act I.
16 . . 468
22 . . 397
58 . .+151
67 . . 505
75
82
84
92
94
103
106
^.^7
•t494
.1287
. 456
P-372
• 498
• 456
• 490
. 200
157 . .t270
a . .t307
3 . . (i)
23 . .t49o
26 . p. 449
27 . . 225
31 •
■52 .
56.
67.
a-
. t69
.t45i
. 492
• 474
•t233
71 . .ti2^
76 . . 466
{??}• •'-
117 . .1446
154 . t239
». 15s •
ii. 163 .
ii. 166 .
ii. 170 .
ii. 179 .
«-H
ii. 211 .
ii. 215 .
ii. 216 .
ii. 217 .
ii. 226 .
ii. 232 .
ii. 235 .
.t49o
. 84
.1283
.+428
. 284
• 93
. 500
•t349
.1468
• 342
(ifl)
. + 512
. 356
. 468
ii. 236 .
ii. 245 .
ii. 250 .
ii. 25s .
ii. 259 .
ii. 261 .
I "live
6 .
19 .
. ( S'o'. oi
3^ t46o
63 ., , 168
INDEX.
48c
Sc. Line
Par.
Sc.
Line P.^r.
Sc.
Line
Par.
Sc.
Line
Par.
iii, 65-8 .
iii. 82 .
. 376
.{3«)
iv.
iv.
25 . . 203
27 . . 375
iv.
. 277
ii.
ii.
95 .
"3 •
• 151
. (9)
iii. 88 .
. 159
iv.
30 . .t29S
iv.
. 234
ii.
120 .
.+^97
iii. 90 .
. 406
iv.
37 . . 69
iv.
288 .
. 494
!!•
123 .
.469
iii. Ill .
. 5
iv.
45 . .t264
ii.
127 .
.+497
iii. 113 .
{:?i
iv.
^^ ' it267
Act IL
ii.
129 .
.367
iii. 127 .
. 161
iv.
58 . .+297
jlel
ii.
130 .
. 419
...
1.
• 133
ii.
133 •
. 490
111. 142 .
iii. 153-4-
3
. 275
iv.
iv.
59 • .460
64 . . 463
i.
C24
27 .
.+442
ii.
144 -
I 479
iii. 159 •
.ti64
iv.
65 . . 497
i.
33 .
. 125
iii.
3 .
• +500
iii. 162 .
. 378
iv.
70 . .tl2I
i.
37 .
• 95
iii.
4 •
. 92
iii 20I .
iii. 202 .
.t468
. 148
iv.
n ■ -^3 .
i.
i.
43 .
50 .
• 293
• 171
iii.
iii.
8 .
16 .
.+137
.+477
lit 206 .
. 460
iv.
95 . . 319
i.
i55\
.t5i3
iii.
17 .
.+129
iii. 207 .
• 365
iv.
97 . .t40S
•
. (8)
.1223
• 275
.+474
.+454
iii.
29 .
. 105
iii. 212 .
iii. 214 .
iii. 216 .
iii. 222 .
• 243
365
iv.
iv.
iv.
iv.
'°'l. . (7)
\i5oj* ^''
122 . . 330
134 • .t33S
146 . . 148
1.
i.
i.
i.
57 .
59 •
83.
90 .
116 .
iii.
iii.
iii.
iii.
iii.
35 Fol.333
39 . . 29
41 . . +69
42 . .490
55 . . 02
iii. 246
iii. 282 .
.t349
iv.
152 . .+329
i.
120 .
.+281
iv.
I .
. 492
. (5)
. 5
iv.
{i?4---
i.
129 .
134 .
. 372
. 512
iv.
iv.
14 .
18 .
. 62
. 92
. 295
iii. 287 .
. 122
iv.
iv.
186 . .ti57
187 . .t468
i.
137 .
(217
*l47i
iv.
22 .
iii. 291 .
. 22
iv.
205 . .t2I9
ii.
7 .
. 287
iv.
34 -
. 301
iii. 292 .
iii. 304 .
. 355
(6)24
iv.
206 . . 232
ii.
i3{.
too'/^S
iv.
. 513
iii. 30s .
. 494
iv.
209 . . 462
ii.
15 .
. 479
iv.
46.
. 307
iii. 314 -
. 186
iv.
ii.
24 .
. 503
iv.
47 .
. 75
iii. 323 .
Iii. 325 .
•t507
. 24
IV.
-4y»-}''3^
ii.
ii.
27 .
34 .
. 326
.356
iv.
V.
71 . . 2Q7
iii. 328 .
.t438
iv.
241 . . 287
ii.
42 .
.+470
iii. 347 -
.+490
iv.
246 . . 290
ii.
47 .
.+275
Act in.
iii. 348 .
iii. 354 .
iv. 5 .
iv. 9 .
. 295
.t364
- 8s
• 297
iv.
iv.
ii.
ii.
ii.
49 .
|65)
168 r
76.
. 438
.+365
. 118
i.
10 .
12 .
. 174
. 243
.+267
iv. {ll}-
•t2S9
iv.
251 . ■ 194
ii.
77 •
.+404
26 .
. S43
iv.
254 . .1284
ii.
92 .
.+467
i.
32 .
.+467
^9o
INDEX.
Sc. Line Par.
Sc.
Line
Par.
Sc.
Line
Par.
Sc.
Line
Par.
i. 37 . . 469
ii.
58 .
it243
I 159
. t76
V
lOI
492
vii.
184
. t87
: /39\ it49o
' 140/ Itsoi
ii.
63 .
V,
109
. 460
vii.
197
. .ti96
. .fiio
vi.
5
. 356
vii.
210
i. 44 . . 2
ii.
67 .
p. 449
^ 1 297
vi.
7
.ti40
vii
227
. . 469
ii.
ii.
76 .
H5 •
. 487
.t243
vi.
9
. 494
vii.
229
. .t466
i. 64 . . 21
ii.
117 .
. 98
vi.
10
. 137
vu.
233
• . IS
i. 68 . . 409
m
vii.
3
. (is)
vii.
23s
• . 243
L 71 . .t494
ii.
. 233
vii.
{1}
. . 490
vii.
240
. .(16)
i. {c}. . 490
iii.
iv.
23 •
I .
p. 16
. 57
vii.
9
. .+494
Act IV.
i. 85 . . 252
iv.
2 .
. 492
vii.
20
.1468
i.
3
. . 150
iv.
29 .
. 178
vii.
25
. . 487
i-
4
. . 180
iv.
36.
.+401
vii.
26
. . t88
i-
7
. .1466
iv.
40 .
. 109
vii.
30
. . 492
i.
43
. .ti58
i. 119 . . 201
iv.
41 .
. ti
vii.
50
. .1467
i-
60
. .t40S
'• "^- fig
iv.
50 .
. 397
•t297
, 200
vii.
{521
(53/
• . 234
i.
70
76
. .1267
. .t225
i. 136 . . 485
L 146 . . 419
iv.
iv.
51 .
62 .
vii.
vii.
57
58
. .t343
. 487
i.
94
. . 468
iv.
iv.
67 .
91 .
. 97
. 490
vii.
w:
S)'5.o
ii.
\i
. .t5i3
i 157 . . 487
iv.
100 .
. t89
vii.
81
. .t20I
ii.
5
. . 81
iv.
v.
106 .
7 .
.t473
. t89
vii.
vii.
89
112
. 414
. 439
ii.
l:^}
. .t5i3
V.
13 •
.t5i3
(398
vii.
"3
. .t494
ii.
ii.
27
35
. 93
.(17)
i. 158 . . 497
vii.
120
• . 423
v.
25 •
X or
ii.
36
. .t494
i. 164 . . 419
( t2
vii.
127
• . 342
ii.
55
• .t217
i. 169 . .ti27
V.
28 .
. 229
vii.
139
. .t468
ii.
59
. . 204
i. 177 . . 235
V.
29 .
.(14)
vii.
. .382
ii.
71
. .t5i2
i. 189 . . 492
V.
32 .
.ti58
vii.
150
. 361
ii.
81
. 4"
i. 191 . .t497
V.
33 •
. t2
vii.
155
• 3
ii.
85
. 236
i. 198 . .1467
V.
35 .
• 29
/t285
• \t287
ii.
87
• 424
ii. 10, Fol. var.
V.
47 .
. 412
. 411
. 107
vii.
157
ii.
98
. .t477
ii. 26 . . 281
ii. 29 . . 497
V.
V.
V.
55 .
56.
63.
vii.
cii.
vii.
159
161
i65{
• 51
.tio9
(Fol.) *
there is'
ii.
ii.
ii.
103
104
120
. 37
.t470
.466
( 497
ii. S3 . • 357
V.
6y .
. 97
vii.
175 .
tp. 12
ii.
124 .
ii. ".5 . . 92
V.
69.
. 166
vii.
176
. 474
((18;
H. ,s6 . . 159
V.
76.
.t494
vii.
179
. . 342
ill 8
. i6h
INDEX.
491
Sij.
Line
Par.
Sc.
Line
Par.
Sc.
Line
Far.
Sc.
Line
Par.
iii.
20 .
. 193
iv.
209 .
.ti33
iv.
417 .
. t2
(^10
iii.
27 .
.(19)
iv.
217 .
• 375
iv.
426.
-349
iii.
130 .
135 .
. 4^3
iii.
31 •
. 431
iv.
221 .
.1287
iv.
428 .
• 477
iii.
. 484
. 291
iii.
53 •
.t494
iv.
229 .
. 69
iv.
458.
.t5i3
iii.
iii.
iv.
229 .
23 .
28 .
34 •
53 .
. 69
• 419
iv.
1^34)
.1370
.+133
. 439
. 196
. + 133
. 372
. 158
iv.
iv.
483.
490 .
. 492
. 202
iii.
ii43l
\i48/-
.508
iv.
iv.
iv.
iv.
iv.
. 515
. 159
• 490
. 118
. t89
iv.
iv.
iv.
iv.
iv.
iv.
235 •
240 .
249 .
250 .
254 •
|25S\
\26oJ-
iv.
iv.
iv.
iv.
iv.
iv.
492 .
501 .
504 .
508 .
515 .
539 .
. 232
. 491
. +17
.469
|478
•\20I
• 3"
iii.
iii.
iii.
iii.
iii.
iii.
156.
185.
187.
201 .
202 .
209 .
.451
1(22)
. 460
• 5"
• 315
. 287
• 512
iv.
65.
. 240
iv.
263.
. 477
V.
7 .
. 466
iii.
210 .
• 303
iv.
75 •
• 509
iv.
268 .
• 247
V.
10 .
.469
iii.
224 .
. 201
iv.
77 .
.(20)
iv.
269.
. t99
V.
14 .
• 492
iii.
228 .
• 159
iv.
86 .
. 24
iv.
274 .
.t494
V.
18 .
• 311
iii.
230 .
.+219
iv.
92 .
. 300
iv.
289.
. 353
iii.
239 .
. 498
iv.
|99l
.104J
. 148
iv.
292 .
• 315
Act V
iii.
243 .
. 118
iv.
304 .
. 341
i.
5 •
.+474
iii.
24s .
.+468
IV.
118 .
. 202
iv.
326.
•t494
i.
21 .
• 479
iii.
267 .
. 417
iv.
122 .
• 443
iv.
331 •
. 491
ii.
19 .
.+122
iii.
281 .
• 514
iv.
135 .
• 451
.1287
iv.
337 .
.+230
iii.
47 •
. 140
iii.
292 .
• 474
iv.
141 .
iv.
338.
•t329
iii.
48 .
.+513
iii.
298.
• 50s
iv.
iv.
142 .
177
.(21)
• +439
iv.
|353l
I354J
.+336
iii.
iii.
51 .
52 .
• 159
•+494
iv.
V.
II .
3 •
.+299
• 342
iv.
180 ,
. 201
iv.
354 .
. 177
iii.
68 .
• 469
V.
9 '
• 507
iv.
iv.
iv.
183.
188 .
189.
.1466
. 365
. 490
iv.
iv.
358.
• t470
.t228
iii.
iii.
i77r
82 .
• 512
.478
V.
V.
21 .
. 469
• 337
iv.
199 .
. 17
iv.
385.
.1266
iii.
95 .
• 378
V.
36 .
1p. 12
(i) Hamlet, i. 2. 92. (la) A. Y. L. iii. i. 18. - (2) Cymb. iv. 4. 132.
(3) " Majesty " when a dissyllable will henceforth not be noticed.
(2,a) ? Pun on "noble." (4) Folio, "Ay, madam," (5) Macbeth, v. 8. 48.
(6) Folio, "an end." (7) Compare Hamlet, v. i. 1-235. (8) J. C. i. 2. 317.
(9) M. of V. V. I. 77. (10) Folio omits "weighty." (11) Folio, " thinks't."
(12) Folio, "and." (13) Folio, " worshipfuUy." (14) Lear, iv. 1. 54,
(is) Folio omits "and." (i6) Folio, "King Richard." (17) Rich. Ill \. i. 158.
(i8) Folio omits "deep." (19) Folio omits "my lord." (20) Macbeth, iii. a. 49.
(21) /J. W. V. 3. 297. (22) J. C. i. 3. 22.
492
INDEX
ROMEO AND JULIET.
Act I
Sc.
Line Par.
Sc.
Line
Par.
Act IV.
Sc.
Line
Par.
V.
107 . . 391
i.
128 .
• 3
Sc.
Line Par.
38.
. 335
V
^33 • • 411
i.
158.
. 200
i.
16 . . 294
Ill .
. 24
ii.
117 .
. 447
i.
60 . .4S7«
119 .
. 264
Act IL
..
i405
•I471
iii.
20 . . 512
140 .
• 275
ii.
42 . .460
u.
141 .
V.
36 . . 480
n.
14 .
. 118
/315
M461
ii.
76 . . 120
iii.
17 .
. 22
V.
59 • . 474
iii.
9 •
iii.
7 . .429
iii.
19 .
• 474
Act V.
iii.
17 .
• 497
iii.
91 . . 281
iii.
38.
. 264
i.
40 . . 178
iii.
98.
• 440
iii.
93 • • 204
iii.
49 •
. 492
iii.
52 . . 400
iv.
19 .
• 440
vi.
9 • .475
iii.
98 .
. 492
iii.
H3 . . 356
iv.
94 •
• 479
vi.
21 . . 492
v.
18 .
. 133
iii.
211 . . 490
iv.
99 •
• 173
v.
84.
. 206
iii.
214 • • 333
iv.
109 .
. 291
Act in.
V.
136.
. 264
iii.
246 . . 469
V
61 .
417
i.
66 . .419a
v.
153 .
. 292
iii.
247 • . 114
V.
70 .
354
i.
122 . . 198
V.
200 .
. 13
iii.
275 . . 465
TAMING OF THE SHREW.
Act I.
i. 50 . . 10
356 . . 22
iii.
36.
. 24
Induction.
i. 74 . . 507
357 • • 247
iii.
189.
. 2«
i. 68 . . 109
i. 78 . . 351
369 . . 22
iv.
I .
l36i
[482
•I120
i. 84
. 132
i. 90 . , 507
377 . . 489
i. 87
. 472
i. 150 . . 166
Act III.
iv.
2 .
i. 89
I
i. 174 . . 465
iv.
4 •
. I70
1. 96
. 76
i. 251 . . 368
i-
9 • P- 14
iv.
12 .
. 301
i. los
. 461
i. 252 . . 297
ii.
I . . 461
iv.
20 .
. 461
i. no
. 369
ii. 8 . . 220
ii.
27 . . 356
.
i33l
134)-
i. 119
4i9<r
«■ {Is} Y:^
ii.
105 . . 28
IV.
• 50s
ii. 13
. 291
ii.
108 . . 297
iv.
46.
• SOI,
ii. 25
• 9
ii. 46 . . 461
ii.
156 . . 7
V.
9 •
' 30
ii. 84
ii. 107
. 176
• 455
«• '^- -is:
ii.
ii.
186 . . 465
236 . . 224
V.
26 .
.482
ii. 136
. 370
ii.
248 . . 297
Act V
Act II.
i.
77 •
. 460
Act I.
i. IS . .126
Act IV.
ii.
&(> .
. 504
i. 3 . . 295
i. 18 . . 490
i.
71 . . 17s
ii.
■72 .
. 174
i. 14 . . 510
i. 158 . . 477
'
125 . . 482
ii.
93 .
.485
i. 32 . . 342
i. 259 . . 505
ii.
14 . .460
ii.
T44 .
. 281
i. 48.
• 507
i.(Fol.)3S5 22
ii.
73 • • 465
ii.
'75 •
• 4Q7
INDEX.
493
TEMPEST.
Act I
Sc. Line
Par.
Sc.
Line
Par.
Sc.
Line
Par.
ii. 109 .
• 494
ii.
220 .
. 460
ii.
©■
. 462
Sc
Line
Par.
ii. no .
. 458
ii.
222 .
.ti78
^
1 ^^
129 r
16 .
. 447
ii. Ill .
. 494
ii.
226 .
. 78
>•
390 .
. 27
;,
. 13
ii. 118 .
.t3I2
ii.
231 .
1+193
^ii.
^ii.
407 .
414 .
. (4)
. I2C
i.
17 •
. 335
ii. 119 .
. 124
ii99
'1495
u.
232 .
.ti49
^ii.
419 .
.456
L
18 .
. 90
ii. 122 .
ii.
235 .
. 511
^ii.
424 •
.+285
\.
24 .
. 176
ii. 127 .
• 454
ii.
243 •
.+291
^ii.
435 .
.+466
i.
49 •
. 154
■ ii. 137 .
. 270
ii.
244 .
. 220
^
439 •
. +11
ii.
ii.
4 •
II .
. 456
.ti3i
ii. 138 .
1 (2)
it467
ii.
ii.
248.
249 .
.+456
.ti36
^i.
ii
442 .
446.
. 232
.+364
ii.
ii.
12 .
19 .
. 457
ii. 141 .
ii. 142 .
ii. 144 .
.+454
.t457
. 5
ii.
ii.
255 .
{^57\
'259/
. 220
.+343
ii
ii.
)447\
»448r
450 .
. 38}
ii.
ii.
ii.
31 •
41 .
50 •
. 342
. 183
. 77
ii. 148 .
ii. 157 •
/341
(342
.462
ii.
ii.
ii.
264 .
297 .
298 .
.+494
+P.13
. 501
^ii
ii
452 .
453 •
.48s
f+200
1+369
ii.
53 •
f 480
\t47S
"■ !;§}■
. 513
ii.
^^-
.456
ii
, ii
456.
457 .
. 183
.+244
ti.
\%'
.•M57
ii. 165 .
ii. 168 .
. 494
• 39
ii.
327 •
• 450
J 473
1+330
,ii
478.
.+335
ii.
63 .
. 343
ii. 173 .
. 471
ii.
333 .
Act IL
ii.
65 .
. 158
«• a?}-
.+513
ii.
338.
. 471
- i
I .
. 401
ii.
66 .
.+469
ii.
348.
.+494
i
1 .
. 45«
ii.
72 .
. 457
ii. 193 •
.467
ii.
352 •
.265
5 •
. (5!
ii.
74 •
. 470
ii. 194 •
. 187
ii.
353 .
.+468
6 .
•+494
ii.
84 .
• 497
(196)
ii.
357 •
. 471
. 28 .
. 206
ii.
85 .
.t283
ii. <2oi>.
U04
. 457
ii.
361 .
. 159
• 75 .
. 189
ii.
88 .
.482
«-{:^0-
.t330
ii.
362.
f+263
1480
,, *
. 96.
. 200
ii.
89 .
. 472
ii.
363 •
. 182
i
. no .
.+263
ii.
97 •
• 294
ii. 200 .
tp.i3
ii.
365 .
. 291
. 127 .
.+228
ii.
100 .
.ti78
ii. 206 .
. 484
.tl23
ii.
366.
. 230
^ '■
. 121 .
. 305
ii.
102 .
.t28l
ii. 209 .
ii.
369
. (3)
. 127 .
. 264
ii.
103 .
•tsoi
ii. 210 .
. 467
ii.
370
. 487
. 131 .
. 400
ii.
104 .
1 (i)
ii. 211 .
ii. 212 .
• 341
f(2>
\ 429
ii.
371
^C
-- '
(i34\
• li35r
. 4W
iL
ii.
105 .
106 .
• 497
(t23I
I 5"
ii. 2T3 .
379
380
' 342
. 226
^
. 145 .
. 150 .
. 510
iy4
nVDEX.
Sc. Line Par.
Sc. Line Par.
Sc. Line Par.
Act V.
i. 151 . . 490
i. 160 . .t494
1. 31 . • 203
i. 32 . .+494
ui. 100 . .t457
iii. 102 . .tsoo
Sc. Line Par.
i. 4 . . 480
i. 163 . . (6)
i. iiS . .t28i
'• --{^'A
Act IV.
i. 7 . . 460
i- 45 . . (4)
i. 9 . . 484
i. .s. . f »■
i. 57 . .+177
i. 4 . .+274
i. 10 . . 432
i. 185 . .ti4o
i. 202 . .tsoo
i. 59 . .tsoo
i. 8 . . 469
i. 12 . .tsi3
i. 26 .1+473
\ 490
i. 15 • . 208
i. x6. .{F°l
1333
i. 207 . .1323
i. 72 . . 255
i. 28 . . 390
i. 215 . .U6g
i. 217 . . (8)
■- {ID- .t5.3
i. 27 . . 307
i. 31 . . 480
'• it} ■ 4«
i. 220 . . 387
i. 221 . . 58a
i. 236 . . 471
'• «. fig
11. 27 . . 479
i. 68 . . 487
'• {ll}-''-
i. 38 . . 30s
■'■{III}- -ts's
'■{III)- -47.
H. {%}■ . 36.
ii. 104 . . 492
ii. 106 . . 244
. h6\ (260
'• l78/- -Ux
i. 94 . .+360
i. 98 . .t295
i. 42 . .+467
i. 43 . • 294
i. 53 . .+218
i. 284 . . 470
ii. 108 . . 503
i. loi . .t473
i. 63 . . 497
i. 287 . .+322
ii. 127 . . 137
i. no . . 484
i. 292 . , 145
ii- 147 • • 330
i. 123 . . 422
i. 68 . . 48a
i. 296 . .t29i
ii. 149 . ,ti6i
i. 124 . . 484
■'■ fe)-=3^
'. 308 . . 374
iii- 2 . .333
i. 140 . .t494
i. 311 . t494
iii. 26 . . 501
i. 143 . . 461
i. 75 . . 261
i. 317 . .tsoo
iii. 40 . . 487
i. 145 . . 439
i. 97 . .+467
'• 319 . .+343
' 3" . lull
■'■'■ {.?!• • ^^'
Hi. {f,}. .,.,8
'''- ill]- -45
i. 146 . . 483
i. 154 . . 260
i. 100 . . 376
»• 103 . .ti3i
i. in . . 466
iii. 56 . . 240
i. 155 . .t442
I. 113 . .t305
ii. 15 . . 96
ii. 121 . . (7)
iii. 59 • 278 H.
•iii. 60 . . 16
i. 168 . .t36o
i. 114 . . 347
i. "7 . . (7)
ii. 137 . .+401
ii. 152 . . 456
ii. 164 . . 457
iii. 62 . . 264
"»• 63 . . 431
iii. 64 . . t69
i. 170 . . 484
i. 186 . . 417
i. r88 . . 457
i. 119 . . 469
;• {;?■} • =3'
iii. 65 . . 467
i. 204 . . 484
i. 135 . •t467
Act III.
i- {llY .+342
1. 217 . . 209
i. 139 . . 230
i , f+244
i. 231*. .t356
i. 145 . . 497
'• ' • \ 300
iii. 80 . . 247
i. 2S9 . 369
i. 146 . . 415
i. 4 . . 508
iii. 81 . .404
i. 262. .{+83
I 90
i. 264 . 1^335
i. 149 . . 364
i. 6 . . 265
i- xs . . (9)
iii. 92 . . 410
iii. 93 . . 238
'■tel- •=«
• Rftwdoi
ihcr "let it alouff" (47
a, end) or -'let's along
i. 214 . . t65,
f"(3o)
Sc.
Line
Pai.
L
315 .
.t2l8
i.
216 .
.t335
i.
230 .
. 168
I
=3..|
t38
Sc.
INDEX,
Line
Par.
Sc. Line
Par.
235 .
•+494
i. 270 .
• 279
249 .
•{-1
i. 289 .
i- 303 .
. 276
.+305
250 .
. 295
i. 310 •
4296
268 .
P- 340
Sc.
495
Line P-ir
315 • • 279
(Epil. 3 ^
I 13 • ■
484
(i) Folio, " th* outward." (2) "Impertinent." — Lear, iv. 6. 178.
(2a) J. C. iv. 3. 280. (3) " OXd."— Macbeth, ii. 3. 2. (4) " Owes."— yi. IV. v. iii. 97.
(5) "Masters." — M. of V. iv. i. 51. "Mastres" is written for "mistress" in B.
and F. Coxcomb, ii. 3. (6) " Against course and kind." — Manday.
(7) Folio, " and." (8) See Teinpest, i. 2. 200.
(9) Theobald, " busy less :" (?) " most bu.sy least." (10) Folio, " lies "
TIMON OF ATHENS.
Act L
i. 44 .
i. 63 .
i. 107 .
22
512
385
i.
ii.
ii.
Act IL
23 . . 343
7 • .392
12 . . 200
i.
i.
Act r
33 .
46.
• 492
. 355
iii.
iii.
iii.
{334-1
401 .
403 •
. 36t
. 325
• 431
i. 139.
i. I47<k
. 28
186
ii.
ii.
28 . . 484
36 . . 512
ii.
ii.
13 .
16 .
.4i9rt
. 468
iii.
454 .
530 •
. 400
. 212
i. 206 .
241
ii.
119 . . 407
ii.
33 .
. 350
i. 257 .
487
ii.
35.
. 252
Act V
i. 284 .
.338
iii.
29 .
• 470
ii. 151 .
. 479
iii.
131 .
. 361
i.
31 .
p. 14
ii. 154 .
. 510
Act IIL
iii.
180 .
. 171
i.
61 .
.466
ii. 156 .
. 405
ii.
39 . .400
iii.
232 .
. 172
i.
202 .
. 487
ii. 184 .
. 480
iii.
23 . .400
iii.
277 .
. 213
iii.
8 .
. 497
ii. 251 .
. 57
V.
56 • . 477
ui.
287.
, 187
TITUS ANDRONICUS.
. 301
. 465
{423
"1491
. 251
• 479
231 .
. 492
Act n.
iii. 285 . .
431
235 .
288 .
301 .
. 479
. 480
. 145
i.
i.
iii.
30 . .
69. .
75 . .
65
103
492
iii. SOS
iv. 18 . .
Act III
200
229
325 .
. 12
iii.
92 . .
463
i. 38 . .
264
347 .
. 477
iii.
102 . .
322
i. 51. .
423
368.
. 19s
ill.
160 . .
490
i. 66 .
484
496
Sc.
Line
Par.
151
. 417
269
. 191
4
• 344
9
. 264
44
. 69
S3
.338
76
.483
83
. 29s
Sc.
INDEX.
Act IV
Sc.
I .iiie
Par
Sc.
Line
Pir.
Line
Par.
iv.
10 .
. 105
i.
102 .
. 143
95 .
508
iv.
20 .
. 301
ii.
It) .
. 507
101 .
472
iv.
65.
. 492
ii.
50 .
. 456
136.
485
iv.
76.
. 78
il.
137 .
. 484
162 .
485
iii.
I .
. 465
176.
247
Act V.
iii.
99 .
. 302
35 •
58
478
484
i.
i.
40 .
46.
. 462
484
iii.
156.
. 48-1
TROILUS AND CRESSIDA.
Prol
Act
. 21 .
L
. 90
ii.
Act I]
64.
. 294
i.
7 .
. 187
ii.
179 .
.285
ii.
T39 .
. 104
ii.
211 .
. 491
ii.
:85.
. 81
iii.
45 .
. 202
ii.
189.
. 104
iii.
94 .
. 430
ii.
312 .
. 372
iii.
115 .
• SI
I431
ii.
314 .
. 224
iii.
120 .
iii.
7 .
. 481
|9S
•l377
iii.
135 .
. 333
iii.
51 .
iii.
749 ■.
. 162
iii.
68 .
. 472
iii.
20s .
419a
iii.
71 •
. 368
iii.
252 .
. 211
fii.
89.
. 12
iii.
266 .
. i6s
/478
■I507
iii.
96.
. 490
iii.
272 .
iii.
101 .
. 343
iii.
105 .
. 490
Act in.
iii.
114 .
. 322
iii.
125 .
. 342
i.
71 •
. 368
iii.
187.
• 342
i.
151 .
• 37
iii.
199 .
. 490
iii.
3 .
i493
•U58
iii.
288 .
• 395
iii.
20 .
. 490
Ui.
339 .
. 188
U74
iii.
340.
• 479
iii.
27 .
111. 44 . • 3
iii. Ill . . 500
iii. 120 . . 264
iii. 127 . . 500
iii. 142 . . 496
iii. 150 . . 480
«>• ■«. -fe
iii. 159 . . 295
iii. 161 . , 90
iii. 162 . . 401
iii. 188 . .129
iii. 190 . . 174
iii. 198 . . 3
iii. 200 . . 487
iii. 201 . . 274
in. 247 .
J 164
'(314
Act IV.
iv. 4 . . 290
iv 47 • . 492
iv. 59 . . 382
iv. 136 , . 3.14
V. 93 •
V. 105 .
V. 170 .
V. 176 .
V. 195 .
V. 255 .
V. 272 .
V. 292' .
Act V.
25
337
433
336
217
69
217
9»
395
i. 30 . . 356
i. 63 . . 407
i. 71 • • 356
ii. 109 . . 13
ii. 144 • . 428
iii. 13 . . 482
iii. 21 . . 151
iii. 54 . . 90
iii. 103 . . 255
"• »• •{*"
yiL s . . 440
INDEX.
495
TWELFTH NIGHT.
Act
I.
Sc.
Line
Par.
Sc
Line
Par.
Sc
Line Par,
i
Line
lO .
Par.
. 284
V.
V.
3 •
69.
•t307
• 13
i.
{"\«a."}(»)
iv.
iv.
99 . . 281
102 . . 218
t
15 •
. 18
V.
84 .
• 93
ii.
3 •
. ibo
iv.
iio . .t244
i
16 .
.t349
V.
108 .
.t244
ii.
6 .
. 356
V.
I . . 25
i
23 •
. 62
V.
120 .
.t343
ii.
8 .
.+323
V.
6 . .ti45
i
24 .
.+312
V.
124 .
• 254
ii.
19 .
.t368
v.
23 . . (3)
i
27 .
. 144
V.
156.
. 400
ii.
21 .
4297
i
32 .
33 .
.t477
. 277
V.
V.
158.
159 .
.tl2I
. 202
ii.
ii.
27 .
30 .
. 230
. t2
Act IIL
403
V.
171 .
. 368
ii.
33 •
. 299
i.
lo/' * ^*~
L
38.
A or
V.
196.
4244
ii.
35 .
. 290
t95
V.
201 .
. 158
ii.
37 .
. 168
^•
44 . . 331,
ii
39 •
{3}-
J 20
1479
4513
V.
V.
V.
224 .
259 .
265 .
.1420
. 224
. tl
ii.
iii.
iii.
42 . . 462
34 • • 165
89 "natural "(a)
i.
i.
45 . .tii8
109 . . 84
114 . .ti49
il.
21 .
/X74
1477
V.
269 .
. 414
iii.
95 •
. 122
i.
120 . . 349
J29\.
I30J
33 .
V.
274 •
• 505
iii
99 .
• 349
*•
121 . . 480
ii.
ii.
.t5X3
. 17
V.
V.
281 .
282 .
. (I)
.t343
ft220
\t223
iii.
iii.
107 Fol. 103
{TI}- tex
i.
i.
i.
123 . • 303
128 . .t3I2
133. . 66
ii.
35 .
i254
•I312
V.
287 .
iii.
122 .
. 401
i.
^33{.J.t-
146 . .+513
149 . . 512
ii.
ii.
43 •
48.
. 290
. 287
V.
V.
295 .
(296!
I297J'
.tl2I
4513
iii.
iii.
iii.
143 .
149 •
18s .
4346
• 295
. 106
i.
ii.
iii.
53 .
I .
. 414
. +24
V.
305 .
. 218
iii.
187.
. 419
i.
'^■^u&
iii.
5 •
. 182
V.
315 .
4479
iii.
199 .
• 349
i.
172 . . u8
iii.
30 (Glossary)
V.
317 •
. 349
.t396
iv.
23 .
.+447
ii.
9 . •t«7
iii.
112 .
.t32i
V.
321 .
iv.
26 .
. 145
ii.
38 . 4315
iii.
"3 .
. 53
'1321
.1284
V.
V.
322 .
324 •
. 194
.287
iv.
"bo/-
.+513
/ 38
tt466
ii.
48 . . 233
iv.
6 .
V.
,329
"owe
w
iv.
42 .
ii.
ii.
57 . •4i9«
72 . .t3io
iv.
13 •
. 127
iv.
50?
.484
iii.
13 . .+469
iv.
iv.
16 .
20 .
.t490
faoo
•\343
i_
Act n.
' • \t406
iv.
iv.
iv.
80 .
89.
90 .
. 227
.t244
•tsos
Ul.
( Supply
15< "thanks.
( How "
iv.
27 .
. 200
iv.
91 .
•t497
iii.
18 . . 35S
iv.
iv.
28 .
419^
i.
i.
i.
20 .
22 .
27 .
. 81
. 21
. 244
(a) A
ir.
iv.
pun.
94 .
96.
/t458
lt469
. 335
iii.
iii.
iii.
26 . . 217
29 . . 84
40 . . 404
K K.
\9S
IJV/}EX.
3c. Lin«s Par,
Sc.
Line Par.
Sc. Line
Par.
Sc. Line
Par
iii. 42 . . t93
iv.
415 . • 349
i. 37.
.t28l
i. 228 .
,t469
iii. 46 . .155
iv.
418 . . 64
i. 58.
• 3
i. 231 .
. 479
'V. 2 . . 175
i- 73 •
.t2I9
i. 235.
' 77
'V. 8s . .ti4i
Act IV.
i. 79 .
.t468
i. 237 .
. 169
;v. 196 . . t2
i.
57 .p. 12 (4)
i. 81 .
. 450
i. 238 .
. 423
IV. 201 . .ti49
i.
61 . . 353
i. 86 .
I
i. 245 .
. 200
iv /238Utp.i64
»^- t239j ltp.156
i.
i.
63. . (5)
65 . . 136
i. 89.
i. 92.
•t379
• 434
i. 253.
L 256 .
. 490
• 349
iv. 248 . . 187
iv. 255 . .ti96
■V- & ■ 4.9
iv. 262 . . S3
ii.
ii.
ii.
ii.
10 . . 200
37 • .t3i9
86 . . 275
'• it}-
i. 104 ,
i. {"3\
.t5i3
. iz£
. 513
i. 266 .
i. 272 .
i. 278 .
i. 289
.t343
. 110
tp. 12
iv. 278 . . 280
ii.
88 . . 319
i. 117 .
. <73
i. 293 .
.t4oo
iv. 300 . . 368
iv. 323 . . 276
iv. 344 . . 366
ii.
ii.
ii.
iii.
92 . . 34
99 . 290 (6)
6 . p 12
i. 125 .
i 127.
i. 130 .
i. 135 .
i. 141 .
. 92
.t243
• 397
. 93
i. 324 •
i. 327.
i. 340 .
i. 346.
.t376
. 16
. 158
• 350
iv. {g}. ,t5.3
iii.
17 . .t494
i. 143 .
. 303
i. 357 .
i. 358 .
. 401
.t278
iv. 366 . .193
iii.
21 . . 3
\. 144 .
.t343
i. |36o|
1371/
(Glos-
iv. 380 . . 5
iii.
28 . . 508
i. 150 .
tp. 12
sary)
iv. 381 . . 512
iii.
29 . . 137
i. 160 .
. 443
i. 368 .
. 244
iv. 383 . .t494 .
iii.
30 . . 202
i. 174 .
. 86
i. 375 .
. 287
iv. 384 . . 287
i. 198 .
• 25
i. 391 .
tp. 12
iv {|;}. ..5.3
i/. 410 . . 368
■'■
Act V.
i, 201 .
i. 222.
i. 224 .
.+400
. 411
. 492
i- 393 .
1. 398 .
. 478
f2[J7
■I 96
(i) See/sT. 7- iii. 4
. 81.
(2) See Macheth, . 5. 30.
(3) See below, line
35;^. y.L. ii. 7-31-
(4) A. y.L. iii.
I. 17.
re) 7. C. iii. 1. 207
-8.
(6) K. y
f. v. 2. 79.
(7)
K. 7. V. 5. 7
TWO GENTLEMEN OF VERONA.
Act 1
.
I. T.S.
, 231
i. 28 .
. 231
i. 30 .
. 501
i. 34.
• 403
i- .39 •
. 501
1. 40 •
SOI
i- 57
187
i- 59 .
89
i. 61 .
231
"• lir}
. 5Po
ii. 62 .
. 447
(h) Comp.-=re
"Ih
84. .
477
:
/47-I
88 . .
338
1.
169/
. 232
CT IL
iii.
6 .
. 299
17/
232
iv.
iv.
62 .
65 .
• 45:-
3 . .
80
iv.
72 .
• 33.^
35 . •
197
iv.
87.
• 467
I have fairly forgotten it.
INDEX.
499
Sc. Line Par.
iv. I20 . . 231
■- fell- • -'
iv. 183 . . 460
iv, 194 . . 146
iv. 210 . . 477
vi. 38 . . 263
vii. 2 . . 492
vii. 5 . . 290
Act III.
i. 23 . . 20
i. 59 . • 40s
Sc.
Line Par.
64 . . 494
84 . . 189
162 . . 28
258.
19 .
26 .
455
94
223
Act IV.
64.
18 .
490
29s
Sc.
Line
Par.
ii.
45
. 166
ii.
92
. 510
ii.
109
. . 368
ii.
118
. . 490
iii.
8
. 451
iii.
41
. 438
iv.
9
. 220
iv.
48
. 232
iv.
67
. 24
iv.
70
. 279
iv.
89
. 482
iv.
170
. 24
Sc. Line Par
iv. 184 . . 467
iv. 200 . . 3
Act V.
ii. 38 . . 174
ii. 51 . . 469
ii. 84 . . 285
ii. 178 . . 215
iv. 3 . . 463
iv. 15 . . 244
iv. 93 . . 461
iv. 109 . . 354
iv. 152 . . 106
WINTER'S TALE.
Act I
ii.
391 .
. 499
i.
195 .
295
ii.
169 . . 508
i. 26 .
. 278
ii.
392 .
. 271
ii.
49 .
• 175
ii.
177 . . 484
i. 29 .
• 334
402 .
•369
ii.
57 •
356
ii.
180 . . II
ii. 13 .
ii. 22 .
. 425
. 499
. 13
•(222
412 .
420 .
425 .
. 220
• 457
. 457
ii.
iii.
/62\
\63r
14 .
457
484
ii.
ii.
.87 . . 173
202 . . 473
217 . • 354
iU 27 .
427 .
. 152
iii.
20 .
412
ii.
232 . . 480
ii. 44 •
• 255
432 .
. 457
iii.
35 .
12
iii.
46 . . 212
ii. 70 .
. 505
437 .
. 200
iii.
104 .
26s
iii.
69 . . 178
ii. 112 .
• 503
449 .
• 457
iii.
115 .
260
iii.
116 . . 212
ii. 117 .
• 499
455 •
.265
iii.
138 .
348
iiL
121 . . 356
ii. 13s .
. 368
ii.
461 .
. 457
iii.
142 , .
297
ii. I^sil
ii. 154 .
. 228
. 297
Act 11
iii.
iii.
150 . .
174 . •
499
369
Act IV.
2 . .247
ii. 263 .
ii. 266 .
ii. 290 .
. 279
. 228
.484
i.
20 .
94 •
.465
(201
•1433
i.
Act III
167.
186
i.
ii.
iv.
26 . . 349
26 . . 412
65 . 419 a
ii. 318 .
. 269
99 .
. 356
ii.
47 •
469
iv.
76 . . 477
u. 329 •
1484
■I509
105 .
128 .
. 128
. 270
ii.
87 .
499
(228
I468
iv.
- ■ -{^
ii. 352 •
. 86
133 .
. 394
ii.
lOI .
iv.
142 . . 509
u- 356 .
• 357
162 .
. 385
ii.
104 .
460
iv.
168 . . 399
ii. 372 .
. 457
i.
165.
. 249
ii.
166 .
378
iv.
K
169 . . isS
K 2
500
INDEX.
Sc. Line
Par.
(12
\88
Sc.
Line
Par.
Act V.
Sc.
Line
Pai.
iv. 176 .
iv.
532 .
J 309
I499
i.
141 .
. 120
Sc. Line Par.
i.
i6i .
. 380
iv. 203 .
p. 14
iv.
539 .
. 270
iv. 264 ,
. 24
iv.
543 .
. 372
i. 18 . . 356
i.
170 .
. 290
iv. 352 .
90
I143
iv.
iv.
549 .
550 .
. 431
. 188
i. 19 . . 13
i. 23 . . 244
i.
i.
219 .
230 .
. 132
• 377
iv. 375 .
501
iv.
581.
. 264
i- 42 . . 354
ii.
60 .
.265
iv. 378 .
244
iv.
592 .
. 202
i. 86 . . 224
ii.
66 .
• 193
iv. 428 .
490
iv.
6^6,
. 374
i. 87 . . *QO
ii.
94 .
. 415
iv. 440 .
198
iv.
731 •
. 90
i- :)5 • . 409
ii.
155 .
• 335
iv. 442 .
iv. 466 .
478
394
iv.
783.
•{g
i. 109 . . ^/4
i. 112 . . 469
iii.
iii.
25 .
53 .
. 469
. 508
iv. 501 .
(290
I333
iv.
iv.
795 .
813.
• 324
.460
i- 113 • . 193
i. 123 . , 166
iii.
iii.
65.
68 .
• 447
. 110
iv. 511 .
490
iv.
822 .
. 447
i. 138 . . 249
iii.
ICX> .
• 192
iv. 512 .
24.J
iv.
831 .
. 105
i. 140 . . 143
iii
140 .
. ss
VERBAL INDEX.
PAR.
A- abbreviated preposition . . 140
adverbial prefix .... 24
A, an, (article) 79
omitted after "like," "as" 83
„ „ " what " . . 86
„ „ "so" . . . 86
in archaic poetry .... 82
"A many men," "an eight
days" 87
used for "one" .... 81
" Many rt man" .... 85
transposed 422
'A for " he " 402
Accent, pause accent .... 453
on monosyllabic prepositions 457a
on other monosyllables,
especially " the " . . . 457
emphatic accent, or ' * stress" 453^
Elizabethan, on some words
thrown forward .... 490
thrown back 4.92
variable, why? 490
Accents, five 452
six apparently .... 494-503
four apparently . . .504-510
emphatic 453<^
Acc'ess 490
Accuse (noun) 451
Active participles, confusion in . 372
Addict (participle) 342
Adjectival phrases transposed . 419^
Adjectives 1-22
both active and passive . . 3
combined together ... 2
anomalously formed ... 22
transposed 419
as adverbs i
transposition of .... \'^^^
used for nouns 5
PAR.
Adverbs, formation of ... . 23-5
transposed 420-21
adverbial compounds . . . 429
After (adv.) 26
= " according to ". ... 141
Again = " on the other hand " . 27
Against, used of time .... 142
A!ar(«)m 463
Alexandrines, very rare . . . 493
apparent 495-9
Alive 140
All for "any" 12
for "every" la
used adverbially .... 28
" Without a// question " . 418
All-obeying = all-obeyed . . 372
*"■•<' l?6
Almost= "mostly," "generally" 29
Alone = "above all" .... 18
Along 30
Amphibious section, the . . . 513
An, one,, pronunciation of . . 80
"Andi{" = if indeed. . . . 105
"^«^ though" 105
And = " and that too" ... 95
in answers 97
used for " also " by Wickliffe 100
with the subjunctive . . . 102
= "even" M
• I105
= "if" loi
Ang(^)ry ....... 477
Anon. Ever and anon , . 30a
Another . . . 88
Antecedent, plural with singular
verb 247
An't were 104
Anything, (adv.) 31
Archbishop 492
Arose for " arisen " . . . 343
Arrived. "Arrived our aasat" igB
502
VERBAL INDEX.
PAR.
Arrived. "I am arrived" . . 29s
Article. See "a," " the."
indefinite, transposition of . 422
Artificial, adj. active .... 3
As 106-13
a contraction of "al(l)so" . 106
= "as if" 107
= "namely" 113
"Sortj" .... 109,275,281
'M J that" 108
That as 280
'Mjthen" 114
= "which," "where" . . 112
= "for so" no
= "though" Ill
"when«j" 116
" as-as" ....... 276
" so. ..«j," omitted in . . 281
" that...(<2j) to," omitted in 277
Asp'ect 490
At. "^^ friend" 143
"At the first" 91
"At first " = " at the first" 90
-Ation, -ition, suffix omitted . . 4511
Auth'orize 491
Auxiliary verbs 298-331
Away. " I cannot aw^jj' with 32
A-weary 24 {3)
Awful = "awe-struck" ... 3
B.
Back. "To and back" ... 33
Backward (noun) 77
Bad (noun) S
Banish. " \banish you the land" 198
Bar. " I bar you your rights " . 198
Barn (verb) 290
Barr(^)ls 463
Barr(^)n 463
Be (verb), how used . . . 298-300
Be-, prefix 438
dropped 290, 460
Beated 344
Because = " in order that " . . 117
" ioT bt?ca7ise" 151
Be-en, plural of " be " . . . . 332
Befal. " Fair befal" .... 297
Behaved. "Have I been be-
haved" 295
Beholding 372
Being used like " seeing " . . 378
Beshrew. " Beskrew my soul
but" 126
Besides = " For the rest " » . 34
"PAR
Best. " I were best * . . . 930, 352
Bestow. " I bestow this ^ you ' 175
Better. " I were better" . . 230, 352
Bin, plural of "be" .... 332
Blame. "Too ^/a»?^" . ... 73
-Ble, suffix active .... 3, 445
Bloat = " bloated " .... 342
BodQment 448
Both 12
for " each " 12
Brain (verb) 290
Briefly = recently" . ... 35
But . ii8-3o
meaning and derivation of . 118
transition of 121
signifying prevention . . 122
" I doubt not ^7<^ " ... 122
" No more but " . . . . 127
= only 128
"Bid only" 130
transposed . . . . .129,420
with subjunctive = "unless" 120
But-en, E. E. = "without" . 119
By, adv 36
prep 14s, 146
" to come ^>'" 14s
prep. = "about". . . . 145
460
460
Call for "recal"
'Came for "became" . . .
Can. "And they can well on
horseback" 307
Can'onized 491
Canstick = " candlestick " ._ . 461
Care. " I c«r,? not who know it " 368
Careless (passive) 3
= " uncared for " . . . ~ 3
Catch'd and " caught " . . . 344
-Ce' final for -ce's 471
Cease = ^' cause to cease '' . . 291
Chance. "How chafice?" . . 37
Chanced (partic.-pass.) . . . 295
Chaucer, varies in accentuation 490
uses French transpositions 419
Cheap. " Good cJteap" . . . igS^a
Chid (participle) 343
Child(^)ren 477
Childing. '*Childing2MX.\xmn.". 290
Chose for " chosen " . . . . 343
'Cide for decide 460
Climate = "live " 290
(verb) 290
Come. "To cotne view fair Por-
tia" ....,,.. MQ
VERBAL INDEX.
503
PAR.
Commaiid(^)inent 488
Comm'erce 490
Comp'act (noun) 490
Comparative in er after dentals
and liquids 7
doubled 11
Com'pell'd 492
Complain. ** Complain myself " 296
Com'plete 492
Compound words .... 428-35
phrase compounds . . . 434
anomalous 435
Condition, expressed by parti-
ciple • . 377
Conditional sentences, irregular-
ities of 371
Confusion of constructions . 409-13
in superlatives 409
with "whom" 410
Conjunctions 95-137
" that " a conjunctional affix 287
conjunctional sentences, el-
lipses in . . . . . 383-93
Construction, irregularities of 406-27
Consult (noun) 451
Contemptible= " contemptuous" 3
Contract, for " contracted " . . 342
Contraction or slurring of sylla-
bles in pronunciation . 462-73
Couplets, trimeter .... 500-3
Dare. " He dare," " he dares " 361
Dazz(^)Ied 477
Dear (dissyllable) 480
Declined. " I am declined" . 295
Degenerate (participle) . . . 342
Deject (participle) 342
for 'dejected" .... 342
Denied. " First he denied you
had in him 710 right" . . 406
Desire. " I desire you ^pardon " 174
Devote for " devoted " . . . 342
Dialogue in verses of three ac-
cents 500
DIpthongs dissyllabled . 480, 484
Dis-, prefix 439
Disdamed = disdainful . . . 374
Dishabited 439
Disjoint (participle) .... 342
Dislikes. " It dislikes me" . . 297
Disnatured 439
Disnoble 439
Dispose (noun) 451
Divine, adj. transposed by
Chaucer and Shakespeare 419
Do 303-306
"Little is io do' . . 359, 405
"What's more to do'
" I (do) not know "
"To do salutations "
omitted and inserted
"Don." " dout" from "do'
Door (dissyllable) . .
Dreadful = "awe-struck
Drove for " driven " .
Droven for " driven " .
359. 405
305
303
306
303
4S0
3
342
344
E.
E final pronounced 487
of French origin pronounced < '^g
Each for " both " 12
for " each other " . . . . 12
Eas(z}ly 467
Eat for " eaten " 343
-Ed final for -ful, -ing .... 374
in participles dropped after
"t,""te,"&c 342
Either (monosyllable) .... 466
Ejaculation, not reckoned in the
verse .... . . 512
Elision of "the," "to," &c.
before vowels .... 462
Ellipses 382-405
of a verb of speech . . . 382
after "will" and "is" . . 405
in conjunctional sentences 383-93
of "it" 404
of "it is" 403
of "there is" 403
of "is" 403
of "neither" before "nor". 396
of nominative .... 399-402
of "one" before "other" . 396
of superlative inflection . . 398
of a verb of motion . . . 405
in Antithetical sentences . 395
in Relative sentences . . 394
Emphasis, different in different
accented syllables . . . 453a
prolongs words 475
prolongs monosyllables 479^-486
En (third person plural inflection) 332
prefix 440
suffix 444
termination 290
Endeavour. " JSndeavour thyself 296
Eng(^)land ....... 477
Enshield for " enshielded " . . 349
(participle) .312
Entertain(4ment 458
50-1
VERBAL INDEX
PAR.
Env'y (verb) . . ^ . . , , . 490
•Er, -el, and -le rinal dropped . 465
final, a dissyllable . . . 478
suffix 443
-Es. Final es dropped after ss,
ce,ge 471-
third person plural inflec-
tion if pres. indie. . . . 333
Escaped. "Was esca/ed" . . 295
-Est, dropped in superlatives
after dentals and liquids . 473
-Eth (third person plural inflec-
tion) 334
Even, transposed 420
" But ^z/^w now " .... 38
Ever 39
Every 12
Every, one, other, neither (plu-
ral nouns) 12
Evil (monosyllable) 466
Eye = " appear " 293
Except, excepted 118
Ex'ile 490
Expect (noun) 451
Expire (verb transitive) . . . 291
Exterior/y 428
Extra syllable before a pause . 454
two pause-extra syllables . 458
F.
Fair. " J^a/r befal " 297
(noun) .... . . 5
Fairies speak in verses of four
accents 504
Fall (verb transitive) .... 291
False (verb) 290
Fame (verb) 290
Famous'd (participle) ... . 294
Far = "very" 40
for "farther" 478
Fastly 23
Fault (verb) ago
Fear (dissyllable) 480
"fear me not" = "fear
not for me " 200
(Verb act.) 291
Fell. "Thouhast^//" ... 344
Felt ^adjective) 22
Fidd(i?)ler 477
Flour(£)sh 463
Folio reads "and" for "an"
(see Index to Plays) . . loi
has the 3rd pers. pi. indie,
pres. in -f 333
PAK.
Folio writes " it " for " its " . . 228
misprints in 338
Fool. " Why old meny^^/ (verb) 20c
Foot (verb) 290
For. " jF(7r all this " .... 154
= " as regards " . . . . 149
= "because" 151
= "because of* .... 150
"for because " 151
"I am>r" 155
= "instead of" .... 148
"/^(jrthat" 287
= " to prevent " . . . . 154
^ prep. X47, 155
For-, prefix . 44T
"For to" 152
Force (verb) 290
Foreign idioms 418
Forgot (participle) 343
" You are forgot " = "have
forgotten yourself " . . 295
Forth, without verb of motion . 41
= " from " 156
French, transposition of adjec-
tives 419
Fretten 344
Frighten 344
From. '* From oyxt'' . . . . 157
without verb of motion . . 158
Froze for " frozen " 343
-Ful, suffix active and passive . 3
Furnace (verb) ...... 290
Future for subjunctive .... 348
G.
Gave for " misgave " . . . . 460
General (noun) 5
Glad (noun) 5
Go. " Go along" = "come
along" ....... 30
= " walk " in WicklifFe . . 35
''go to" 185
Good. "Good my lord". . . 13
"goodnov/" 13
" good chaap" i9&a
Graft (participle) 342
Grav'd = "entomb'd" . . . 294
Guiled. " Guiled shoT^" . . 294.
Hand(^)Iing . .
Happen'd (partic. pass.)
477
VERBAL INDEX.
50s
PAR.
Happily =: " haply " . . . . 42
Happy (verb) 290
Hardy = "bold" 148
Have. " Should ^rtt'^ " . . . 327
"to have" omitted ifter
"would have" .... 411
"Thought to have begged" 360
Hear. " Who heard me to deny
it?" 349
Heat (participle) 342
He for "him" .... 306,207
"man" 224
Hence, without verb of motion , 41
Hen(e)ry 477
He7iry VIII. not written by
Shakespeare 455
Her, antecedent of relative . . 218
for "herself" 223
"its" 229
"'s" 217
Here. " Thy ^r^-approach " . 43
Hers, used for "her" adj. . . 238
Him, dative . . . * . . . , 220
for "he" 208
"himself". .... . 223
= "he whom" 246
Hinder. " Who shall hinder me
to weep ? " 349
His, antecedent of a relative . 21
for "its" 228
*"s" 217
Hither, without verb of motion . 41
monosyllable 466
Hitherto, used of space ... 44
Hoist (participle) 342
Holp for "holpen" 343
Homagfi'r 443
Home. " Speak him ^(7W^ ". . 45
Honest (verb) 290
Hour (dissyllable) 480
How "A''tf7y chance?" . . . 37
for " however," for " as " . 46
However (it be) 403
Hybrid compounds 428
I for "me" 209
unaccented dropped ... 461
" (I)1i)eseechyou" . .456,401
slurred in " mm/ster," &c. . 467
If. './/that" 287
FAR.
Ignomy 478
Impersonal verbs . . . . . 297
Import/^« 446
-In for "-un," prefix .... 442
In. "He fell ?'« love" . . . 159
= " in the case of" . . . 162
"/« round" 163
= during : "/« night" . . i6i
with the verbal, "/« sleep-
^ ^, i?g" 164
Indicative 346-348
Simple Present for Complete 346
Simple Past for Complete
Present 347
PresentjThird Pers. PI.in -en 332
''^y^-es.th 335.336
Past m « 339
Second Per. Sing, in -is . 340
Future for Subjunctive . . 348
" And thou i^Tz/^j^ me " . . 363
Infect (participle) .... 155, 342
Infinitive 349-360
active for passive .... 359
indefinitely used .... 356
perfect, "He thought to have
done it " 360
used as a noun 355
" To" omitted ; inserted . 349
„ omitted and inserted
after the same verb . 350
„ with noun, used as
subject or object . 354
Inflections 332-345
-Ing, termination 372
confused with the old inflec-
tion "en" 93, 372
Inhabited = " housed "... 294
In's for "in his" 461
Interjectional lines 512
Interrogative Pronouns, transi-
tion from to Relative 35 r, 252
Into, with verbs of rest . . . 159
accent of 457a
Inward (noun) 77
Irregularities of construction 406-27
Is, ellipses after 405
ellipse of 403
-Ised final in polysyllables . . 491
It 226-29
ellipse of . 404
for "its" 228
" zV is," ellipse of . ... 166
" To voice it with claims" . 226
emphatic as antecedent . 227
-Ition, -ation, suffix omitted . . 451
Its, post-Shakespearian . . . 228
substitutes for . . . 228, 229
I -Ive, suffix passive .... 3, 445
5o6
VERBAL INDEX.
PAR.
477
JuggC^\ler ......
Just, adj. ■= "exact ". ... 14
Jusnc^« 443
Know. " I knorv you what you
are" 414
L.
Lack = " to be wanting " . . 293
Laid (adjective) 22
Lated (verb) .... . . 290
Latinisms 418
Learn (verb act.) 291
Lengthening of words in pro-
nunciation .... 477-86
Less, suffix 3, 445
Let = " did " 303
Like. " If you /z,^if of me " . . 177
Likes. "It /i'-^i-j me" . . . 297
Lines, see Verses.
Liquids introduce a semi-vowel . 477
List. "ZzVi? a brief tale" . . 199
'Longs for " belongs " . . . . 460
Look. ' ' To look your dead " . 200
].,over'd 294
-Ly, suffix 447
M.
Mad (verb) 290
Maj(^j)ty, (dissyllable) ... 468
Malice (verlj) 290
Many. " il/rt«;j/ a man". . . 81
' A many men " . . . . 87
a noun 87
an adjective adverbially used 81
Mark. "Mark King Richard
how he looks" .... 414
Marie for " marvel " .... 461
May 307-313
"May not" = "must not" • 310
used for the subjunctive in
the sense of purpose . . i2^{/)
Me for " I" . . . . . 210
= "for me,"** by Me" . . 220
= "my.self" 223
"Of me" for "my" . . . 225
".^* rather 1 1 ad" . . . , 230
PAR,
Mean. "What mean ye to
weep?" 356
Meered (particip.) 294
Meiny = "train" ..... 87
derivation of 12
-Ment, suffix 448
Mere, adj. = "complete" . . 15
Mered (particip.) 294
Might 307-13
= "could" 312
Million'd (participle passive) . 294
Mine, how differs from " my " . 237
used for "my" 238
Misbecomed for " misbecame " . 344
Mistook (participle) .... 343
Monosyllables accented . . . 457
unaccented 456
prolonged so as to make up
a foot 479^:- 486
Monosyllabic prepositions, ac-
cent of 457a
Moods 346-70
Moral^r 443
More, most = "greater"
"greatest" 17
" More better" .... 11
" More fearful" .... 51
" No more but " , . . . 127
Most = " greatest " .... 17
" Mostbest" II
Mouthed (participle passive) . 294
Much = ' great " 51
Must, original use of . . . . 314
= "is to " 314
My, how differs from " mine " . 337
" Good my lord .... 13
Myself (derivation oO • • • • ao
N.
Names, used as adjectives . 22, 430
polysyllabic, receive but one
accent 469
Near for "nearer" 478
Necessited 295
Neck. " In the neck of that " . 160
Need (verb intr.) . . * . . 293
" What w^^-^ .' " .... 297
Needs (adverb) 25
Negative, double 406
Neither, ellipse of, before "nor" 396
a monosyllable 466
used for " both " .... 408
-Ness, suffix 449
Never. " Never so " . . . 52, 406
No. "iV(? more but" . . . . 127
Nominative absolute . . . ^7^33'
VERBAL INDEX,
507
PAR.
Nominative, ellipsis of . . 399-402
implied from participial
phrases 413
None. " I will none of it" . . 53
Nor, used for "and" .... 408
Not = " not only " .... 54
" I not doubt" 305
Nothing (adv.) 55
(perhaps) 490
Noun absolute 417
noun-compounds .... 430
of French origin formed from
verbs without change . . 451
Nour(i)sh 463
o.
Object, redundant . _ . • .., • 414
Objective following intransitive
verbs 198-201
Ob'scure 492
Of 165-79
accented in " out of" . . 45 7«
= about .... . . 174
= as a consequence of . . 168
= as regards 173
" Blowing (T/'his nails" . . 178
= by X70
= from 166
= on 175
original meaning "from" . 169
"To admit <?/" 179
with verbs of filling . . . 171
Off 56
connected with " of' . . 165
On 180-2
= about 181
"I fall tf» weeping" . . . 180
" One (7« '5 ears " .... 182
"C>« sleep" 140
Once = "above all;" "once
for all " 57
" At once " = "once forall" 57
One, ellipse of, before " other" . 396
= " above all " .... 18
how pronounced .... 80
(adjective) . . . 130, 58, 420
Only transposed 420
— "mere" 58
Ooe for " open " (adj.) . 343, 290
Or, "<7r...<7»-" 136
= " before,' " or ere," " or
ever" 131
Other for " others " 12
monosyllable 466
(singular pronoun) ... 12
Ought. "You (7«^/i:/ not walk" 349
Our, antecedent of relative
" Come, 07tr queen "
= " of us " . . .
Ourselves, derivation of
Out (preposition) . .
Over = " over again "
Overwatched = fatigued
Owe for " own "...
Owing (adjective) . .
22a
219
20
183
58^
29s
290
372
P.
Pale (noun) 5
Paled (passive) 294
Parted. '^Parted with" for
^' parted irom." . ... 194
Participles 372-381
-ed omitted after d and t . 342
-en dropped ...... 343
irregular formations of . . 344
prefix ;>/- 345
imply a condition .... 377
used absolutely without
Noun or Pronoun . . . 378
Passive with some verbs of mo-
tion 29s
Past for Present tense . . . 347
Path (verb) 290
Pause, effect of an accent . . 453
the pause-extra-syllable 454, 455
two pause-extra-syllables . 458
frequently prolongs a mono-
syllable 481-486
in verses of four accents 506-509
Peer = " cause to peer " . . . 291
Peers (verb transitive) .... 291
Pensived (passive) ..... 294
Vcxchaxice. " Perchjince I will" 319
Perfect infinitive 360
Perish = " destroy " . . . . 291
Perish^« = they perish . . . 332
Pers'ever 492
Pined (passive) 294
Pitied. "It would have pitied
a man" 297
Plain = " make //«/« " . . . 290
Pleaseth. '' Pleaseih'it" . . 361
Pleasure, has two accents . . 479
Possess = " inform " .... 295
Practised = " plotted against " 294
Prefixes 436-442
dropped 460
"en-" 440
"in-" for "un-"\
"un-"for"in-"/ • • • 442
Piepositlonal compounds . . . 431
Piepositions 138-204
doubled 407
5o8
VERBAL INDEX.
PAR.
Prepositions omitted before in-
direct object . . . . 20 I
omitted after verbs of motion,
worth, hearing, and other
verbs 198-200
omitted in adverbial phrases 202
transposed .... 203, 424
accent of 457^
local and metaphorical mean-
ing 138
restricted in meaning . . 139
transition of into conjunc-
tions ■ 287, 151
Present, Simple for Complete . 346
Presently = " at once "... 59
Private (noun) ... . . 5
Probable (adj.), active ... 3
Pronoun, personal .... 205-243
redundant .... 242, 243
relative 244-274
omitted 244
anomalies of 205
between conjunction and in-
finitive 216
transposed 240
Proper = " own" 16
Prose, when used 515a
Prosody 452-515
'Pxoviess, (quasi-monosyllable) . 470
Quail =■" make to quail " . . 291
Quit (participle) 342
R softens or destroys a following
or preceding vowel 463, 464
prolongs rer 478
when following a vowel pro-
longs a monosyllable . ^ . 485
-r and -re final dissyllabize
monosyllables .... 480
after dentals introduces a
quasi-vowel 477
Recall. "Unrecalling" for "un-
recalled" 372
Relatival constructions . . 275-289
Relative 244-274
with plural antecedent and
singular verb .... 247
omitted 244
withsupolementary pronoun <^'^„
1^249
Sea''^\\.o^'" which/'^'that."
PAR.
Relish (verb transitive) . . . 291
Remains for "it r^w«rtz/w" . . 404
Remember = " remind "... 291
Rememb(^)rance 477
Retire (verb act.) . . . .291, 296
Rhyme, when used 515
Right used for " true " ... 19
Rode for " ridden " .... 343
Round = " straightforwardly " 60
Royal, why transposed . . . 419
Run. **Isrw»" 295
S.
'vS", adverbial suffix 25
-S final dropped after se, ce . . 471
^ misprinted in Folio .... 338
Sanctuary pronounced " sanct'ry " 4^8
Sat. "Bemgj^^" 295
Save. "Save he" 118
Sawn for " seen " 344
Say used for " call " . . . . 200
'Say'd for '" assayed " . . . . 460
Scaling = " weighing "... 290
'Se for " shall " 461
Se'cure 492
Seldom (adjective) 22
Self (adjective) 20
omitted 223
Semb(^)Iance 477
Sense for " senses " 471
Several (noun) 5
Severally = " separately " . . 61
Shaked for " shaken " . . . . 343
Shall 315-318
*' I shall, my lord "... 315
= " is sure to "... . 315
"It shall come to pass" . 317
"Mark you his absolute
shall" 316
She for "her" 211
"woman" ..... 224
Shine (verb act.) 291
(verb transitive) .... 291
Should 322-8
denotes contingent futurity 322
= " ought," " was to " 323, 324
" j;^«/i^ have " .... 327
like German "sollen" . . 328
after past, corresponds to
' ' shall " after present . . 326
Show = " appear "...., 293
Sightless (passive) .... 3
Since, difference of tenses with . { ^^^
1347
A year since .... 62
" Since that" 287
="when" i^a
VERBAL INDEX.
509
PAR.
Sir, a mark of anger .... 232
Sith 132
Smit for " smitten " .... 343
Smote for " smitten " .... 343
So inserted . 63
omitted 64
for "also" 65
for " then " t(i
" .S'£> long time " .... 67
= "provided that" . . . 133
" So that," " so as "=" pro-
vided that" 133
" So defend thee heaven " . 133
" ^i7 (as) " omitted . • . 281
"^9^ as" T09, 275
" ^yi* that :" ^.^/ omitted . 282
„ so omitted . . 283
" 6"^ . . . where " .... 279
Solicit (noim) 451
Some 21
Something, adv 68
Sometimes = " formerly " . . 68^
Sorrow. ** \ 2cnx sorrow" . . 230
Spake for " spoken " .... 344
Speak. " iS/^^a/^ him fair " . . 200
Splitted 344
Spoke (participle) 343
Squint (verb act.) 291
Stand. "It stands me upon " . 204
" 6'i'rt«<f on tip-toe " ... 24
Stent. " Being deep stept" . 295
Still for " constantly " . ... 69
Streaming = •* unfurling " . . 290
Strove for "striven" .... 343
Strucken 344
Studied. "As one that had been
stttdied" 295
Subjunctive 361-70
in a dependent sentence . 368
of purpose 311
used indefinitely after the
relative 367
used optatlvely or impera-
tively 364
with " an " or " and " . . 102
Such. "^Such as" = "Such
that" 109
" Such thax" 279
" 6'?/cA where " .... 279
'" Such yfhich'" .... 278
Suffixes 443-50
"-ation," "-ition," omitted 451
" -^/,?" (active) . . . . 3,445
r,"^''",,/ ••.••••• 444
"-zz/^" (passive) . . . 3,445
"-less" 446
"-^y" 447
'' -ine7it" 448
" ness "....... 449
PAR.
Suffix, "-J/" 450
SuffDcate (participle) .... 342
for " suffiacated " .... 342
Superlative in -est for " very" . 8
after dentals and liquids . 9
confusion in 409
double II
inflection, ellipse of . . . 398
Swa«i for " swum " .... 344
Sweaten 344
Sword^r 443
Syllables dropped in writing 460, 461
dropped or slurred in pro-
nunciation .... 467-473
T.
Taint (participle) 342
Tear (dissyllable) 480
Tenses, irregularities of
346, 348, 360, 370, 371
Terrible = " frightened . . 3
Than, with comparative, ex-
plained 70
for "then" 70
Thankful = " thank- worthy " . 3
That, demonstrative, " that as" j^go
" that which " 267
difference between " that,"
" who," and " which " 258-259
relative 260-263
less definite than "which" . 268
" whatsoever that "... 286
a conjunctional affix . . . 287
= " because," " when " . 284
in "after that," &c. like
" quam " in " postquam " 288
omitted and then inserted . 285
omitted after " so " . . . 282
" So that:" " so" omitted . 283
"Such that" 279
= that which 244
before a verbal .... 93
"TA^ better" 94
omitted 89, 90
"rA^" which" . . . . . 287
The omitted in archaic poetry . 8a
"the . . . that" .... 267
apparently accented . . . 457
" Lifts the head " . . . . 228
" The Talbot ; " "M^death" 92
Thee, dative 220
for "thou" 213
Their the genitive of " they" . 219
Them for 'they" 214
5IO
VERBAL INDEX.
PAR.
Thei? for " thtjj " 70
for (?)" when" 71
There, for " thereupon," " then" 70
" There is," elhpse of . . 403
They. " 77i^j)' in France " . . 245
Thinks (verb impersonal) . . . 297
" Where it thinkst best" . 212
"yi^thoughts" "xa&think" 297
" I think it be " . . . . 299
This for " this is " 461
Thorough for " through " . . 478
Thou 231,235
omitted 241
between equals 231
to servants 232
as an insult 233
rhetorical 234
apparent exceptions . . . 235
Though. " Though that" . . 287
Thought. " Thought to have
begged" _ 360
Thyself, derivation of ... . 20
Till = to 184
To 185-90
used after "see," "feel" . 349
= according to 187
"Zi? be abridged "= " about
being abridged ". . . . 357
" Zt> be" for "being" . . 357
" To give you" = " by giv-
ing j^ou" ...... 357
" I would to God" . . . 190
= " in addition to " . . . 185
= " in comparison with " . 187
inserted for connection . . 416
inserted, omitted .... 349
= "like" 187
prefix 437
= " with a view to" . . . 186
"With God /£> friend" . . 189
" To-iore " 72
Toil (verb act. ) 290
Toil'd (passive) 294
Tongue (verb) 290
"7'^-night" 190
Too = "very" 73
"T"^)? blame" 73
Took (piirticiple) 343
Towards, sometimes .... 492
Traded (passive) 294
Transpositions 422-27
of adjectives and pai-ticiples 419
of indefinite article . . . 422
of adverbs 420
of possessive adjectives . . 13
of prepositions 424
Trifle (verb transitive) . . . 136
Trimeter Couplets .... 500-503
U.
Un- for " in-," prefix .
Unaccented syllable of a tri
syllable softened .
Under (adjective) . . .
Undoubled = " undaunted
Unfair (verb)
Unsisting for " unresisting '
Until with .subjunctive
for " unto " . . . .
Upon
"It stands me upon "
Us for "we"
Utensils
191
PAR.
442
468
22
148
290
460
302
184
19a
204
215
492
V.
Verbal preceded by " the " and
not followed by " of" . 93
preceded by " in "... 164
followed by *' of" and not
preceded by " the " . . 178
Verb-compounds 432
Verbs, auxiliary 298, 331
intransitive used transitively 291
impersonal 297
inflection of third for second
person . 340
intransitive followed by the
objective 198-200
of filling with "of " . . . 171
passive, formation of . . . 294
singular inflection with plu-
ral subject .... 333-9
reflexive 296
formed from nouns and ad-
jectives 290
transitive used intransitively 293
passive to express motion . 295
Indicative mood - . . . 346-348
Ijifinitive 349-360
Subjunctive 361-369
Participles .... 372, 381
Tenses . 346-348, 370, 361, 132
Verses of five accents . . . 452, 453<i
of six accents apparently 1 Jq,'1qq
of four accents apparently 504-510
of three and two accents 511, 512
the Amphibious verse . . 513
in four accents spoken by
fairies, witches, &c. . . 504
Versing (writing in verse) . . 290
Very = true 16
Vouchsafed 294
VERBAL INDEX.
Vowels, when unaccented in a
polysyllable, slurred . . 468
affected by r . 463, 464, 478, 480
W.
Waft (participle) 342
Waged = "paid** 290
Wanteth (impersonal verb) , . 297
Warr(rt;)nt 463
Were, subjunctive use of . . 301, 302
What, exclamation of impatience 73a
semi-transition to relative,
how checked 252
= "any" 255
= "whatever," "who" . 254
= "why" 253
followed by antecedent . . 252
= " of what a nature ? '*. . 256
Whatsoever, " whatsoever that " 286
Whe'er for " whether " . . . 466
When. " When that" . . . 287
exclamation of impatience 73a
Where. " So. ..where" . . . 279
" Such. ..where" .... 279
= "whereas" 134
Whereas = " where *'.... 135
Whether. " Or whether" . . 136
Which, anomalies of ... . 273
" Such which " .... 278
" which that " .... 250
difference between "which,"
"who," and "that" . . 258
interchanged with "who"
and "that" 265
less definhe than " who " . 266
more definite than "that" 268
with repeated antecedent . 269
" The which" 270
= " which thing," paren-
thetical • 271
= '^ a.s to w.kich" . . . 272
While, whiles 137
"IVhiie that" 287
" a- while, "" whilom " . . 137
= till . . ._ 137
with subjunctive .... 302
Whilst. " The whilst" .... 74
Whist for " whisted " . . . . 342
Who, transition from relative to
interrogative 251
" As who should say " . . 257
difference between " who,"
" which," and " that " . 258
— "and he," "for he" . . 263
personifies irrational ant<*-
cedents 264
PAR.
Who for "whom" 374
more definite than " wnich " 266
Why. "JVh^'that" .... 287
"For why ?" 75
" IVhy and for what " . . 75
" JVhy and wherefore " . . 75
Wilful blame 432
Will, ellipses after 405
substituted for " shall " . . 316
"That... he will" . . . 311
" I 7vill not " = " I shall "
in Shakespeare .... 319
difficult passages .... 321
Wish. "The rest I wish thee
gather" 349
Witch (verb) 290
Witches speak in verses of four
accents 504
With 193-5
= "like" 195
= "by" 193
" I live 7vith (on) bread" 194
Withal 196
Without = "unlike" "outside
of" 197
Woe. "I am woe" 230
Wont, derivation of ... . 5
Would = " was wont to " . . 330
not used for "should" . . 331
for "wish, require" . . . 329
" I 7vo}^ld to God" . . . 190
in the consequent clause . 322
Wreathen (participle) .... 344
Wrest(^)ler 477
Writ (participle) 343
Wrote for " written " .... 343
Y.
Y-, (participial prefix) .... 344
Y-ravished 344
-Y, suffix 450
Ye, differs from " you "... 236
Year'd (passive participle) . . 294
Yearns. " It j'earns me not" . 297
Yet = "as yet" before a nega-
tive . 76
You, differs from " thou " . 231-235
a mark of anger to servants,
"you, sir" 232
diflfers from " ye " . . . 236
Youngly (adverb) 23
Your, antecedent of relative . 218
=• "of you" ..... 219
colloquial use of . . . , 221
dissyllable 480
Yours. "T\i\s o{ yours" . . . 339
Yourselves, derivation of . . . 90
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