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simply as a change of circumstances, the passage may mean, (and this is the interpretation of Stevens,) thai the pleasure of to-day becoines subsequently a painthe opposite of itself.
“ The hand could pluck her back”—“Could” is here used in that peculiar sense, which indicates not power, but inclination and will, if there was ability-apparently an elliptical expression-a very idiomatic, but by no means unusual sense, and not peculiar (as Stevens pronounces it to be) to the old writers. He thus says: . My band, which drove her ott, would now willingly pluck her back, if it were possible.”
– our EXPEDIENCE"—i. e. Our expedition. These words were used by Shakespeare indiscriminately.
“ - like the courser's hair"-" This is so far true to appearance, that a horse-hair · laid (as Hollingshed says) in a pail of water,' will become the supporter of seemingly one worm, thongh probably of an immense number of small slimy water-lice. The hair will twirl round a finger, and sensibly compress it. It is a common experiment with school-boys.”—COLERIDGE.
SCENE III. - our brows BENT”-i. e. The bending or inclination of our brows. The brow is that part of the face which expresses most fully the mental emotions. So in King JOHN :
Why do you bend such solemn brows on me?
“ Remains in use with you"-i. e. In your possession and use-a phrase employed also in the Merchant or VENICE:
So he will let me have
am prias, his grandfather, as authority for some of the ories he relates of the profuseness and luxury of Antoy's entertainments at Alexandria. In the stage-direcon of scene ii. act 1, in the old copy, Lamprias, Ramus, and Lucilius, are made to enter with the rest ; but hey have no part in the dialogue, nor do their names Ppear in the list of Dramatis Persone.
Stevens adds that, in the multitude of the characers, these characters seem to have been forgotten.
** — let me have a child al fisty"_"This (says Stevens) s one of Shakespeare's natural touches. Few circumtances are more Hattering to the fair sex, than breeding at an advanced period of life. Charmian wishes for a ion too who may arrive at such power and dominion that the proudest and fiercest monarchs of the earth may be brought under his yoke. It should be remembered that Herod of Jewry was a favourite character in the mysteries of the old stage, and that he was always represented a fierce, haughty, blustering tyrant.”
“ — As he flattered”—“As” for as if.
“ EXTENDED Asin from EUPHRATES”-i. e. Seized upon-an adaptation to a general sense of a phrase peculiar to the ancient English law; one process of seizing or levying upou land, to satisfy judgments, being called an extent, or extendi facias, " because (says Blackstone) the sheriff was to cause the lands to be appraised to their full extended value." In North's “ Plutarch," we find that Labienus had “overrun Asia from Euphrates." Nearly all Shakespeare's contemporaries make the second syllable of “ Euphrates” short. Drayton, for example
That gliding go in state, like swelling Euphrates. “ When our quick minds lie still"— In the old folios, our quick winds." Warburton proposed, and Malone and other editors have adopted, the correction of " quick minds.” If we adopt this reading, the sense will beWhen our pregnant minds lie idle and untilled, they produce weeds; but the telling is of our faults is, as it were, ploughing, (earing being the old word for tilling, still preserved in our English Bible,) and thus destroys the weeds. The old reading is preserved by Johnson, who explains the sense—“ that man not agitated by censure is like soil not ventilated by high winds, and produces more evil than good.” Knight retains the same reading :-“Before we adopt a new reading we must be satisfied that the old one is corrupt. When, then, do we bring forth weeds ?' In a heavy and moist season, when there are no quick winds' to mellow the earth, to dry up the exuberant moisture, to fit it for the plough. The Poet knew the old proverb of the worth of a bushel of March dust; but the winds of March,' rough and unpleasant as they are, he knew also produced this good. The quick winds then are the voices which bring us true reports to put an end to our inaction. When ihese winds lie still, we bring forth weeds. But the metaphor is carried further: the winds have rendered the soil fit for the plough; but the knowl. edge of our own faults, or ills, is as the ploughing itselfthe caring."
Collier supposes winds to mean wints, which (says he) * in Kent and Sussex is an agricultural terin, meaning two furrows ploughed by going to one end of the field and back again.
*Our quick winds' is, therefore, to be understood as our productive soil.” Judge Blackstone had long before conjectured quick winds to be a corruption of some provincial word, signifying arable land. Yet that the first and most obvious explanation gives the idea in the Poet's mind, is indicated by a similar passage in HENRY VI., (Part III.:)
For what doth cherish wee ls but gentle air? A dozen commentators have exercised their sagacity on this passage, of which the reader has here the substance.
“ The opposite of itself"-Warburton says, “ The allusion is to the sun's diurual course, which, rising in the east, and by revolution lowering, or setting, in the west, becomes the opposite of itself.” But, taking revolution
" — should safe my going”-i. e. Render safe.
“ The Garboils she awak'd”-i. e. Disorders, commotions; probably derived from the same source turmoil.
“ – the sacred vials"-— Alluding to the lachrymatory vials filled with tears, which the Romans placed in the tomb of a departed friend.
- I am quickly ill, and weil, So Antony loves.” Our text follows the more usual punctuation. Cleo. patra, I think, draws a rapid reproachful comparison between her own quickly-changing health and the fickle love of Antony. And the reply, “ My precious queen, forbear," etc., shows that he felt this to be meant for him. Knight prints the lines,
I am quickly ill, and well, So Antony loves ;and says :-" This passage is usually printed with a colon after well;' and, so pointed, it is interpreted by Capell, such is Antony's love, fluctuating and subject to sudden turns, like my health.' The punctuation of the original seems more consonant with the rapid and capricious demeanour of Cleopatra—I am quickly ill, and I am well again, so that Antony loves."
Collier's comment is, “I am quickly well or ill, according as Antony loves me.” “ Belong to Egypt”-i. e. The queen of Egypt.
This HERCULEAN Roman"— Antony traced his descent from Anton, a son of Hercules.
“ But that your ROYALTY Holds idleness your SUBJECT," etc. An antithesis seems intended between “ royalty" and “subject." " But that I know you to be a queen, and that your royalty bolde idleness in subjection to you, 1 should suppose you, from this idle discourse, to be the very genius of idleness itself."
" — LAUREL'n victory"—So the second folio, and all the other editions, except that of Knight, who retains
the “ laurel victory" of the first edition ; remarking that force, that it will cause any man to sleepe as tbasta
– BURGONET of men"-i. e. Helmel. In Heye
VI. we have, “ I wear aloft my burgonet."
* — that great MEDICIBE katė used by Shakespeare, both in this play and in the Two
With his tinct gilded thee."
The allusion is, as Johnson and Stevens have shoes others in striving together for the same end or object.
to the philosopher's stone, which, by its touch, cort "One" is the original reading, which Johnson altered to
base metal into gold. The alchymists call the niz ours-a plausible conjecture; yet the old reading strikes whatever it be, by which they perform transition me as the preferable sense. Octavius denies that it is
a “medicine." Thus Chapınan, in his “ Shador e his nature to hate any great associate power.
O, then, thou great eixir of all treasures. " — his com POSURE"-i. e. Composition, in modern language.
The old English poets are full of such allusions, es
there is a singular agreement between the poetic asi " — excuse his souls”—The original has foils, which this phrase, and an idiomatic phrase common to al án (says Collier) means “the fuibles which injure his char- North American Indian tribes, which ditlering in a acter.” But I tind no authority for any such use of the guage, some of them radically, agree in applying the word, while “ soils" is constantly used by Shakespeare title of great medicine" to any powerful agent beyo in this very manner. Thus in HAMLET — No soil doth their comprehension. This is one of those coincidenca besmirch the virtue of his will." In Love's LABOUR's where there could be no common origin, which sur Lost—" The only soil of his fair virtue’s gloss.". The how uncertain are all arguments of literary imitate. change of the long s for the f, is common in old books etc., drawn from mere similarity. and manuscripts.
“ And soberly did mount an ARROGANT steed," etc. “ Comes DEAR'd by being lack'd"-In the old copies, "fear'd by being lack'd," which is adhered to by the
The original has arm-gaunt steed," which has so two last English editors; while the rest, from Theobald
zled all the critics. Knight says that “arm-gou, to Singer and Boswell, adopt Warburton's change, steed fierce and terrible in armour"-a sense not exc.
which we have no other example, conveys the idea of a “dear'd." This not only in itself presents a much better and more natural sense, but moreover corresponds plied to a horse become gaunt by bearing arma"
derived from the word. Collier interprets it *** with the account given of Pompey, in the preceding speech, that he “is beloved of those that only have feared
more probable sense, but not suiting the context, though Cæsar.” It is too the same with the thought similarly
it agrees with Warburton's explanation of “a steed sa expressed in CORIOLANUS :-" I shall be lov'd when I
thin by service in war;" on which Edwards has larzsted ami lack’d." This is much more natural than Kuight's
much good pleasantry, in his sprightly volume, the
“ Canons of Criticism." idea that, in Octavius's mind, “ to be feared and to be
Seward, (Preface to his editie loved were synonymous.”
of Beaumont and Fletcher,) Edwards, and Lord Ched
worth, maintain that it means thin-shouldered-gars “ Leave thy lascivious vassals”—The spelling of the quad armos.” M. Mason proposed, and very many edit original is vassailes. The inodern reading is wassals. tors have adopted, the change into termagant, which In three other passages of the original, where the old gives a spirited and appropriate sense. word wassal is used, it is spelled wassels. Wassal is em- tion to this change is that termagant must have becom ployed by Shakespeare in the strict meaning of drunken preceded in the text by a, not by an, as the old edities revelry; and that could scarcely be called “- lascivious." have it. This edition
adopts the very ingenious eonje On the contrary, " leave thy lascivious rassals” ex- ture of Boaden, which is thus explained and defended presses Cæsar's contempt for Cleopatra and her minions, by Singer:who were strictly the vassals of Antony, the queen be- “ The epithet arrogant is the happy suggestion of ing one of his tributaries.-Knight.
Mr. Boaden, and is to be preferred both on account of beaten from MODENA"—Shakespeare has here
its more striking propriety, and because it admits of the evidently used the ordinary English pronunciation of
original article an retaining is place before it. That it “Mo-dé-na," not its Italian sound, as familiarized to our
is an epithet fitly applied to the steed of Antony, may ears by later poets, such as Rogers :
be shown by high poetical authority. In the - Aurato
Domado" of Lope de Vega, the reader will find the folIf ever you should come to Modena,
lowing passage :For this quotation, as well as for other matter, I am
Y el carallo arrogante, in que subido happy to express my obligation to a recent American
El hombre parecia publication, of great accuracy, learning, and taste
Monstruosa fiera que sies pics tenia. Baldwin's Pronouncing Gazetteer,” (Philadelphia, Termagant, it should be observed, is furious; at 1845.)
gant,' which answers to the Latin ferox, is only for res “ Assemble me"-So the original. The modern read
proud. Our great Poet, of imagination all compact
, ing is “ assemble we”—the editors thinking.
is the greatest master of poetic diction the world has misprint for we, because one equal is speaking to an
yet produced; he could not have any knowledge of the other. Knight justly remarks, ihat the commentators
Spanish poet, but has anticipated him in the use of this forget the contempt which Cæsar had for Lepidus: they
expressive epithet. The word arrogaunt, as written in forget, too, the crouching humility of Lepidus himself:
old manuscripts, might easily be mistaken for at
ACT II.-SCENE I.
"My power's a crescent"— The old copy has “My SCENE V.
powers are crescent." The use of it, in the next line
shows that “crescent" is a substantive. The correr
tion in the text was made by Th
The spelling of the early edition is and lip, which
Collier retains, as referring to Cleopatra's power of en
A strong objet
" me" a
bald, and is received
rantment," and doubts whether it should not be printed This is Malone's interpretation, and generally adopted and-lip. This is forced and improbable. Waned, in modern editions. But I rather agree with Mason, hich, if strict metrical regularity is required, may be
," does not refer to “talks," but that he says, velled or spoken “wan'd,” refers to the age and decay Admitting that I was negligent, and then lacked fidelfbeauty, to which Cleopatra has herself before referred. ity to my word, that honour is now sacred." He accordtevens quotes a similar application of the epithet from ingly excuses his fault, demands pardon, and tenders larston, a contemporary dramatist:
considerate stone”—This is probably an al
lusion to the old saying, “as silent as a stone,” which is le however suggests that the word is wan'd-grown
a frequent comparison among our ancient writers. ran, or pale, as in Hamlet: “ His visage wan'd.”
• A solemn silence and gravity are my " A space for further travel"—i. e. Since he quitted part." Cgypt, a space of time has elapsed in which a longer
your reproof ourney might have been performed than from Egypt
Were well deserv'd of rashness." o Rome.
That is—You might be reproved for your rashness, “ I cannot Hope”—“ Hope" is here used in the sense
and would well deserve it. The old copy reads proof. of erpect. Charcer employs the word in this sense ;
Warburton made the emendation. but the inaccuracy of this use was exemplified, in Shakespeare's time, by Puttenham, who quotes the speech of
“ When she first met Mark Antony," etc. the Tanner of Tamworth to Edward IV.:-"I hope I
We quote from North's " Plutarch” the original mashall be hanged to-morrow.”
terial, which Shakespeare and Dryden successively
worked up into the most gorgeous passages of English SCENE II.
** The manner how he fell in love with her was this: " I would not shave't to-day"—i. e. I would meet him Antonius, going to make war with the Parthians, sent undressed, without any show of respect. Plutarch men- to command Cleopatra to appear personally before him tions that Antony, " after the overthrow he had at Mo- when he came into Cilicia, to answer unto such accusadena, sutfered his beard to grow at length, and never tions as were laid against her. clipt it, that it was marvellous long.” Malone thinks So she furnished herself with a world of gifts, store of that this was in Shakespeare's thoughts.
gold and silver, and of riches and other sumptuous orna"If we compose"-i. e. Agree, come to agreement;
ments, as is credible enough she might bring from so as afterwards—"I crave our composilion may be writ
great a house and from so wealthy and rich a realm as teu."
Egypt was. But yet she carried nothing with her
wherein she trusted more than in herself, and in the “Sit, sir"-A note of admiration is put here by Ste- charms and enchantment of her passing beauty and vens, who thinks that Antony means to resent the invi- grace. Therefore, when she was sent into by divers tation of Cæsar that he should be seated, as such invita- letters, both froin Antonins himself and also from his tion implied superiority. We agree with Malone and friends, she made so light of it, and mocked Antonius Knight, that they desire each other to be seated; and so much, that she disdained to set forward otherwise that Czesar puts an end to the bandying of compliments but to take her barge in the river of Cydnus; the poop by taking his seat.
whereof was of gold, the sails of purple, and the oars of “ — THEME for you" — This passage has been misun
silver, which kept stroke in rowing after the sound of derstood, erroneously explained, and considered cor- the music of flutes, hautboys, citterns, vials, and such rupt. Its meaning evidently is, “ You were the theme other instruments as they played upon in the barge, or subject for which your wife and brother made their And now for the person of herself
, she was laid under contestation; you were the word of war." Mason sup
a pavilion of cloth of gold of tissue, apparelled and atposed some words had been transposed, and that the
tired like the goddess Venus, commonly drawn in picpassage ought to stand thus:
ture; and hard by her, on either hand of her, pretty
fair boys, apparelled as painters do set forth god Cupid, Their theme was you; you were the word of war.
with lule funs in their hands, with the which they
finned wind upon her. Her ladies and gentlewomen “ — some true REPORTS"_"Reports," for reporters. also, the fairest of them were apparelled like the Nymphs It was not an uncommon poetic license, among the old Nereides (which are the mermaids of the waters) and dramatists, thus to use the neuter noun for the personal like the Graces; some steering the helm, others teúding one derived from it; as in Richard III. we find wrongs the tackle and ropes of the barge, out of the which there used for wrong-doers.
came a wonderful passing sweet savour of perfumes,
that perfumed the whart's side, pestered with innume. " As matter WHOLE you have to make it with," etc.
rable multitudes of people. Some of them followed the This is the reading of the original; but the ordinary barge all along the river-side ; others also ran out of the reading, from the time of Rowe, has been
city to see her coming in: so that in the end there ran As matter whole you have not to make it with.
such multitudes of people one after another to see her, We doubt the propriety of departing from the text, and that Antonius was left post alone in the market-place, the meaning appears to us-Il you will patch a quarrel in his imperial seat, to give audience; and there went 80 as to seem the whole matter you have to make it a rumour in the people's mouths that the goddess Venus with, you must not patch it with this complaint. “Whole" was come to play with the god Bacchus for the general is opposed to patch.-Ksight.
good of all Asia. When Cleopatra landed, Autonius
sent to invite her to supper to him. But she sent him “Could nol with graceful eyes altend those wars word again he should do better rather to come and sup Which FRONTED mine own peace.”
with her. Antonius, therefore, to show himself cour. That is—Could not look graciously upon them; could teous unto her at lier arrival, was content to obey her, bot approve them. • Fronted" is affronted, opposed. and went to supper to her, where he found such passing
sumptuous fure that no tongue can express it." "The honour's sacred which he talks on now," etc. “ The theme of honour which he now speaks of,
• So many mermaids, tended her i' the eyes, namely, the religion of an oath, for which he supposes
And made their bonds ADORNINGS.' me not to have a due regard, is sacred; it is a tender The last editions of Johnson and Stevens contain seve point, and touches my character nearly. Let him, ral pages of commentary, giving various interpretations therefore, urye his charge, that I may vindicate myself." to these words. To these the later critics have added
and for contestation
their quota. Stevens pronounces, that “ the plain sense pected resemblances between the customs of the on of the passage seems to be, these ladies rendered that of the Pharaohs and those of modern times, that it . homage which their assumed characters obliged them not be very surprising to find that Cleopatra to pay their queen-a circumstance ornamental to them- have amused herself with this very game. rever! selves. Each inclined her person so gracefully, that the centuries after in France. Of course Shakespeare beri very act of humiliation was an improvement of her own nothing of these antiquities, but he knew very well a beauty.”
games of some sort, uniting exercise with manual or Knight's comment is as follows:-—"Warburton pro- | terity and skill, were used in all retived and lowers posed to read adorings; and the controversy upon the communities; and because he could not express an IT matter is so full that Boswell prints it as a sort of sup- tation to such an amusement, in a vague circumlucan plement at the end of the play. We hold to the adorn- he employed the familiar English word for the 2 mgs' of the original."
most like that he supposed might have been playei 3 Collier says, ihat “tended in the eyes" means nothing | old times. else but tended her sight; as in the MIDSUMMER Night's DREAM we have “ gambol in his eyes,” for gambol in “Rain thou thy fruitful tidings in mine ears," et his sight. “ Made iheir bends adornings” is to be nn- The old text has “ Ram thou," etc., which Coilerr derstood that they bowed with such grace as to add to tains. Yet the epithets “ fruitful" and * barren arte their beauty.
- rain," and the same image herz:
been used in Timon, (** Rain sacrificial whisperinsi * Age cannot wither her, nor custom stale
his ear,") there seems little doubt that ram is a liter Her infinite variety."
error for “rain." Cleopatra, as appears from the tetradrachms of Antony, was no Venus; and indeed the majority of ladies, “ But there's no goodness in thy face, if Anicy who most successfully enslaved the hearts of princes, ar Be free and healthful :--solari a farour," etc. known to have been less remarkable for personal than We follow the original reading, as well as purtat mental attractions. The reign of insipid beauty is sel- tion, agreeing with Knight that, thus read, the lives are dom iasting; but permanent must be the rule of a wo- full of characteristic spirit. The bulk of moden ci man who can diversify the saineness of life by an inex. tions alter, without reason, the punctuation thus:hausted variety of accomplishments.-STEVENS.
But there's no goodness in thy face : If Antony
Be free, and healthful, -uhy so lart a favour
To trumpet such good tidings ! “Whose fortunes shall rise higher, Cæsar's or mine ?"
“Not like a FORMAL man"-i. e. A man in his gērBI.
(See Comedy of Errors, act v. scene 1.) so in the With Antonius there was a soothsayer or astronomer TWELFTH Night—"any formal capacity." of Egypt, that could cast a figure, and judge of men's nativities, to tell them what should happen to them. “ I'll set thee in a shower of gold, and hail He, either to please Cleopatra, or else for that he found
Rich pearls upon thee." it so by his art, told Antonius plainly that his fortune (which of itself was excellent good and very great) was
A magnificent image, which Milton has borrowed
and added to its splendour of diction, by incorporating altogether blemished and obscured by Cipsar's fortune; with it the “ Barbarico anro" of Virgil, and an actual and therefore he counselled him uiterly to leave his custom of the Persian court :company, and to get him as far from bim as he could.
the gorgeous East, with liberal hand, For thy demon, said he, (that is to say, the good angel
Showers on her kings Barbaric pearl and gold. and spirit that keepeth thee,) is afraid of his; and, being courageous and high when he is alone, becometh fear- " Thou art not what thou'rt sure of"-Such is the ful and timorous when he cometh near unto the other. reading of the original, which, though obscure from the Howsoever it was, the events ensuing proved the Egyp- speaker's hurried brevity, I understand tian's words true: for it is said that, as often as they two
in a relenting moment - Thou (the bearer) art not thydrew cuts for pastime who should have anything, or
self the evil thing of which you are so certain
, and de whether they played at dice. Antonius always lost.
not merit to bear its odium.” If the reader is not satis Oftentimes when they were disposed to see cock-fight,
fied with this, he may adopt the conjectural emendation or quails that were taught to fight one with another,
of M. Mason, adopted by Stevens: C:esar's cocks or quails did ever overcome. -North's
O, that his fault should make u knave of thee, Plutarch.
That art not! - What! thou'rt sure of't! “ Becomes a FEAR"-A “Fear” was a personage in
SCENE VI. some of the old Moralities. (See TroiLUS AND CresSIDA, act iii. scene 2.) The whole thought is borrowed
“ Your hostages I have, so have you mine," etc. froin North's translation of Plutarch.
Sextus Pompeius at that time kept in Sicilia, and so
made many an inroad into Italy with a great number of " -- and his QUAILS ever
pinnaces and other pirate-ships, of the which were cap Beat mine, IN HOOP'd, at odds.
tains two notable pirates, Menas and Menecrates, who Shakespeare derived this from Plutarch. The an- so scoured all the sea thereabouts that none durs: peep cients used to match quails as we match cocks. Julius out with a sail. Furthermore, Sextus l'on peius bad Pollux relates that a circle was made, in which the dealt very friendly with Antonius, for he had courteously birds were placed, and he whose quail was first driven received his mother when she fled out of Italy with out of the circle lost the stake. We are told by Mr. Fulvia; and therefore they thought good to make peace Marsden that the Sumatrans practise these quail com- with him. So they met als three together by the Mount bats. The Chinese have always been extremely fond of Misena, upon a hill that runneih far into the sea; of quail fighting. Mr. Douce has given a print, from an Pompey having his ships riding hard by at anchor, and elegant Chinese miniature painting, which represents Antonius and Cæsar their armies upon the shore side, some ladies engaged at this amusement,
where the quails directly over against him. Now, after they had greed are actually inhooped.-Douce's Ilust rations of Shake- that Sextus Pompeius should have Sicily and Sardinia, speare.
with this condition, that he should rid the sea of all SCENE V.
withal that he should send a certain quantity of wheat - let us to BILLIARDS"— The critics pounce upon to Rome, one of them did feast another, and drew cuts this from all quarters. “ The game (as Malone says) who should begin. It was Pompeins' chance to invite was not known in ancient times." The later explora- them first. Whereupon Antonius asked him. And where tions of Egyptian antiquities have shown so many unex- shall we sup? There, said Pompey; and showed him
as saying, as it
s admiral galley, which had six banks of oars: That but not the one in the Poet's joind. The old Latin and aid he) is my father's house they have left me. He English dictionaries, and translators contemporary with ake it to taunt Antonius, because he had his father's Shakespeare, all show that “pink eyes" meant small mise, that was Pompey the Great. So he cast anchors eyes, (as Bishop Wilkins's Dictionary—“ Pink-eyed; row into the sea, and then built a bridge of wood to narrow-eyed.") Fleming, in his “ Nomenclator,” gives rvey them to his galley, from the head of Mount Mi. as synonymous, " Ayant fort petits yeux: that hath little pa : aud there he welcomed them, and made them eyes-pink-eyed." rat cheer. Now, in the midst of the feast, when they Il to be merry with Antonius' love unto Cleopatra,
ACT III.-SCENE I. lenas the pirate came to Pompey, and, whispering in is ear, said unto him, Shall I cut the cables of the an
“ Without the which a soldier, and his sword, bors, and make thee lord, not only of Sicily and Sar
GRANTS scarce distinction." inia, but of the whole empire of Rome besides ? Pom
“ Grants" for affords. Thou hast that. Ventidius, ey, having pansed awhile upon it, at length answered which if thou didst want, there would be no distinction im, Thou shouldst have done it, and never have told it between thee and thy sword. You would be both ne; but now we must content us with what we have; equally cutting and senseless." This was wisdom, or s for myself, I was never taught to break my faith, nor knowledge of the world. Ventidius had told him why o be counted a traitor. The other two also did like he did not pursue his advantages; and his friend, by vise feast him in their camp, and then he returned into this compliment, acknowledges them to be of weight. Sicily.—North's Plutarch.
There is somewhat the same idea in CORIOLANUS:much tall youth”—“Tall" is used in its old col
Who sensible outdares his senseless sword.
“ — hearts, tongues, figures, scribes, bards, poets," etc. sessions ; having added to thy own my father's house.
This whimsical arrangement of words, as it is here “ O'ercount" seems to be used equivocally, and Pom
jocosely introduced, seems a passing sneer at the tastes pey perhaps is meant to insinuate that Antony not only
of the day, in affecting this conceit in graver poetry. outnumbered, but had overreached him. The circun.
Thus, in Daniel's eleventh Sonnet:Blance of Antony's obtaining the house of Pompey's
Yet will I weep, vow, pray to cruel shee; father, the Poet had from Plutarch.
Flint, frost, disdaine, weares, inelts, and yields we see.
And Sir Philip Sydney's “ Excellent Sonnet of a Nymph," since the cuckoo builds not for himself"—i. e. printed in “ England's Helicon," is a tissue of this kind. Since, like the cuckoo, that seizes the nests of other birds, you have invaded a bouse which you could not " They are his SHARDS, and he their BEETLE"-i. e. build, keep it while you can.
They are the wings, that raise this heavy lumpish insect (“ For this is from the PRESENT”)—i. e. Foreign to
from the ground. So in MACBETH-" The shard-borne
beetle." the object of our present discussion. Shakespeare uses the “ present” as a substantive many times.
" – and as my furthest BAND
Shall pass on thy approof." You and I have known"-i. e. Have been acquainted. So in CYMBELINE :—“Sir, we have known
“ Band” and bond were of old used indiscriminately. together at Orleans."
Octavins charges his sister to prove such as he thinks
her, and as his amplest bond would be given that she Octavia is of a holy, cold, and still CONVERSATION"-“ Conversation" is behaviour; manner of acting in common life. He iseth no virtue or honest conver “ He were the worse for that, were he a horse," etc. sation at all: Nec habet ullum cum virtute commer Stevens says, that a horse is said to have a cloud in cium."-BARET.
his face when he has a black or dark-coloured spot in SCENE VII.
his forehead, between his eyes." It is thought to indi.
cate a vicious temper. Burton applies the phrase to an “ They have made him drink alms-drink"_" A phrase ugly woman. “Every lover admires his mistress, though (says Warburton) among good fellows, to signify that she be thin, leane, chitty-face, have clouds in her face, liquor of another's share which his companions drink to be crooked," etc —( Anatomy of Melancholy.) ease him. But it satirically alludes to Cæsar and An
“What willingly he did CON FOUND"-i. e. Destroy. tony's admitting him into the triumvirate, in order to lake off from themselves the load of envy."
SCENE III. " — pinch one another by the disposition"-Warbur
" Her MOTION and her station"-"Station" is the act ton explains this phrase as equivalent to one still in use, of “ touching one in a sore place."
of standing, as “motion" is the act of moving. So iv
HAMLET—" A station, like the herald Mercury." "- A PARTIZAN I could not heave”-A “partizan" was a weapon between a pike and a halberd; not being
"— I repent me much 80 long, it was made use of in mounting a breach, etc.
That I so HARRIED him."
To " harry” is to harass, to worry, to use roughly, to They take the flow o'the Nile," etc.
vex, or molest, from the old Norinan-Freuch harier, of Shakespeare might have found a description of the
the same meaning, or from the Anglo-Saxon hergian. rise of the Nile, and the estimate of plenty or scarcity The word occurs frequently in our old writers. Thus, thereon depending, in Holland's translation of Plinv. in the “ Revenger's Tragedy," (1607:)— The Nilometer is described in Leo's “ History of Africa."
He harry'd ber amidst a nest of pandars. translated by John Pory. Both works were published
So Nash, in his · Lenteu Stuff':''--"As if he were har. at the beginning of the seventeenth century.
rying and chasing his enemies." " Whate'er the ocean PaLFS, or sky Inclips”-i. e. Walter Scott revived the use of the word in his poems. Every thing that the ocean encloses, or the sky embraces. “ Plumpy Bacchus, with PINK EYNE," etc.
SCENE IV. The modern reader will take this in the sense of "- he not took'?”—The first edition has “not look'd," pink-coloured, as if alluding to the redness of the eyes which seems a clear misprint, though the Pictorial ediof the god of Bacchanals--a good and appropriate sense,
tion retains it.