i.e. the morning fun dries up the dew which lies in the cups of flowers. WARBURTON.

Hanmer reads:

Each chalic'd flower fupplies;

to escape a falfe concord: but correctnefs muft not be obtained by fuch licentious alterations. It may be noted, that the cup of a flower is called calix, whence chalice. JOHNSON.

--thofe Springs

On chalic'd flowers that lies.]

It may be obferved, with regard to this apparent falfe concord, that in very old English, the third perfon plural of the prefent tenfe endeth in eth, as well as the fingular; and often familiarly in es, as might be exemplified from Chaucer, &c. Nor was this antiquated idiom quite worn out in our author's time, as appears from the following paffage in Romeo and Juliet :

And bakes the elf-locks in foul fluttish hairs,

Which once untangled, much misfortune bodes: as well as from many others in the Reliques of ancient English Poetry. PERCY.

Dr. Percy might have added, that the third perfon plural of the Anglo-Saxon prefent tenfe ended in eth, and of the Dano-Saxon in es, which feems to be the original of such very ancient Englith idioms. TOLLET.

Shakspeare frequently offends in this manner against the rules of grammar. So, in Venus and Adonis :

"She lifts the coffer lids that close his eyes,

"Where lo, two lamps, burnt out, in darkness lies.”

STEEVENS.

--pretty bin,] is very properly restored by Hanmer, for pretty is but he too grammatically reads:

With all the things that pretty bin.

So, in Spenfer's Faery Queen, book i. c. 1.

JOHNSON.

"That which of them to take, in diverse doubt they been." Again, in The Arraignment of Paris, 1584:

"Sir, you may boaft your flockes and herdes, that bin both fresh and fair."

Again" As fresh as bin the flowers in May." Again, "Oenone, while we bin difpofed to walk."

Kirkman afcribes this piece to Shakspeare. The author was Geo. Peele.

STEEVENS.

So, get you gone: If this penetrate, I will confider" your mufic the better: if it do not, it is a vice in her ears, which horfe-hairs, cats-guts, nor the voice of unpaved eunuch to boot, never can mend. [Exeunt Muficians.

Enter Cymbeline, and Queen.

2 Lord. Here comes the king.

Clot. I am glad, I was up fo late; for that's the reafon I was up fo early: He cannot chufe but take this fervice I have done, fatherly.Good morrow to your majefty, and to my gracious mother.

Cym. Attend you here the door of our ftern daughter?

Will the not forth?

Clot. I have affail'd her with mufics, but she vouchfafes no notice.

Cym. The exile of her minion is too new;
She hath not yet forgot him: fome more time
Muft wear the print of his remembrance out,
And then fhe's yours.

Queen. You are most bound to the king;
Who lets go by no vantages, that may
Prefer you to his daughter: Frame yourself
To orderly folicits; and be friended
With aptnefs of the feafon: make denials
Encrease your fervices: fo feem, as if
You were infpir'd to do thofe duties which

1-I will confider your music the better :] i. e. I will pay your more amply for it. So, in the Winter's Tale, a&t IV:

-being fomething gently confider'd, I'll bring you, &c.” STEEVENS.

-cats-guts] The old copy readscalves-guts. STEEVENS.

To orderly folicits;] i. e. regular courtship, courtship after the established fashion. STEEVENS. The oldeft copy reads folicity. The reading of the text is that of the fecond folio.

MALONE.

You

You tender to her; that you in all obey her,
Save when command to your difmiffion tends,
And therein you are fenfelefs.

Clot. Senfelefs? not fo.

Enter a Meffenger.

Mef. So like you, fir, ambassadors from Rome; The one is Caius Lucius.

Cym. A worthy fellow,

Albeit he comes on angry purpose now;

But that's no fault of his: We muft receive him
According to the honour of his fender;

And towards himself, his goodness forefpent on us,
We muft extend our notice.-Our dear fon,
When you have given good morning to your miftrefs,
Attend the queen, and us; we fhall have need
To employ you towards this Roman.-Come, our

queen.

[Exeunt. Clot. If the be up, I'll fpeak with her; if not, Let her lie ftill, and dream.-By your leave, ho!

[Knocks,

I know her women are about her; What
If I do line one of their hands? "Tis gold
Which buys admittance; oft it doth; yea, and makes
Diana's rangers false themselves, yield up

Their deer to the ftand o' the stealer: and 'tis gold
Which makes the true man kill'd, and faves the thief;
Nay, fometime, hangs both thief and true man:
What

Can it not do, and undo? I will make
One of her women lawyer to me; for

bis goodness forefpent on us,] i. e. The good offices done by him to us heretofore. WARBURTON.

2

-false themselves,] Perhaps, in this inftance, falfe is not an adjetive, but a verb; and as fuch I think is used in another of our author's plays. Spenfer often has it:

Thou falfed halt thy faith with perjury." STEEVENS.

I yet not understand the cafe myself.

By your leave.

Enter a Lady.

[Knocks.

Lady. Who's there, that knocks?

Clot. A gentleman.

Lady. No more?

Clot. Yes, and a gentlewoman's fon.

Lady. That's more

Than fome, whofe taylors are as dear as yours,
Can justly boast of: What's your lordship's pleafure?
Clot. Your lady's perfon: Is fhe ready?

Lady. Ay, to keep her chamber.

Clot. There's gold for you; fell me your good

report.

Lady. How! my good name? or to report of you What I fhall think is good?-The princefs

Enter Imogen.

Clot. Good-morrow, faireft fifter: Your sweet

hand.

Imo. Good-morrow, fir: You lay out too much

pains

For purchafing but trouble: the thanks I give,
Is telling you that I am poor of thanks,
And scarce can spare them.

Clot. Still, I fwear, I love you.

Imo. If you but faid fo, 'twere as deep with me: If you fwear ftill, your recompence is still That I regard it not.

Clot. This is no answer.

Imo. But that you fhall not fay I yield, being filent,

I would not speak. I pray you, fpare me: faith, I fhall unfold equal difcourtesy

To

To your best kindnefs: 3 one of your great knowing
Should learn, being taught, forbearance.

Clot. To leave you in your madnefs, 'twere my fin:
I will not.

Imo. Fools are not mad folks.

Clot. Do you call me fool?
Imo. As I am mad, I do:

If you'll be patient, I'll no more be mad;
That cures us both. I am much forry, fir,
You put me to forget a lady's manners,
By being fo verbal and learn now, for all,
That I, which know my heart, do here pronounce,
By the very truth of it, I care not for you;

—one of your great knowing

Should learn, being taught, forbearance.] i. e. A man who is taught forbearance jhould learn it. JOHNSON.

4 To leave you in your madnefs, 'twere my fin.

I will not.

Imo. Fools are not mad folks.

Clot. Do you call me fool?

Imo. As I am mad, I do;] But does fhe really call him fool? The acuteft critic would be puzzled to find it out, as the text ftands. The reafoning is perplexed by a flight corruption,

and we must reftore it thus:

Fools cure not mad folks.

You are mad, fays he, and it would be a crime in me to leave you to yourself. Nay, fays fhe, why fhould you ftay? A fool never cured madnefs. Do you call me fool? replies he, &c. All this is eafy and natural. And that cure was certainly the poet's word, I think is very evident from what Imogen immediately fubjoins:

If you'll be patient, I'll no more be mad;

That cures us both.

i. e. If you'll cease to torture me with your foolish folicitations, I'll cease to fhew towards you any thing like madness; fo a double cure will be effected of your folly, and my fuppofed frenzy. WARBURTON.

Fools are not mad folks.] This, as Cloten very well underftands it, is a covert mode of calling him fool. The meaning implied is this: If I am mad, as you tell me, I am what you can never be, Fools are not mad folks. STEEVENS.

5 fo verbal ;-) Is, fo verboje, fo full of talk. JoHNSON.

VOL. IX.

R

And