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And set them on Lud's town.
We are all undone.
No single soul
(thank the gods!)] The old copies have-(thanks the gods). Mr. Rowe, and other editors after him,--thanks to the gods. But by the present omission of the letter s, and the restoration of the parenthesis, I suppose this passage, as it now stands in the text, to be as our author gave it. Steevens.
The law Protects not us:] We meet with the same sentiment in Romeo and Juliet:
“ The world is not thy friend, nor the world's law.” Steevens. 2 For we do fear the law.?] For is here nsed in the sense of because. So, in Marlowe's Few of Malta, 1633 :
" See the simplicity of these base slaves !
“ Think me to be a senseless lump of clay.” Again, in Othello:
“ And, for I know thou art full of love,” &c. Malone.
Though his humour Was nothing but mutation ; &c.] (Old copy-bis honour.) What has his honour to do here, in his being changeable in this sort ? in his acting as a madman, or not? I have ventured to substi. tute humour, against the authority of the printed copies: and the meaning seems plainly this: Though he was always fickle to the last degree, and governed by humour, not sound sense; yet not madness itself could make him so hardy to attempt an enterprize of this nature alone, and unseconded ”s Theobald.
The text is right, and means, that the only notion he had of ho. nour, was the fashion which was perpetually changing. Warburton.
This would be a strange description of honour; and appears to me in its present form to be absolute nonsense. The sense indeed absolutely requires that we should adopt Theobald's amendment, and read humour instead of honour.
Belarius is speaking of the disposition of Cloten, not of his principles :-and this account of him agrees with what Imogen
From one bad thing to worse; not frenzy, not
I had no mind
With his own sword,
I fear, 'twill be reveng’d: 'Would, Polydore, thou had'st not done 't! though valour Becomes thee well enough. Aru.
'Would I had done 't, So the revenge alone pursued me!-Polydore, I love thee brotherly; but envy much,
says in the latter end of the scene, where she calls him “ that ire regulous devil Cloten.” M. Mason.
I am now convinced that the poet wrote his humour, as Mr. Theobald suggested. The context strongly supports the emenda. tion; but what decisively entitles it to a place in the text is, that the editor of the folio has, in like manner printed honour instead of humour in The Merry Wives of Windsor, Act I, sc. iii:
“ Falstaff will learn the honour of the age." The quarto reads rightly—“ the humour of the age."
On the other hand in the quarto, signat. A 3, we find,“ – - Sir, my honour is not for many words," instead of “ – Sir, my hu. mour,” &c. Malone.
4 Did make my way long forth.] Fidele's sickness made my walk forth from the cave tedious. Johnson.
Thou hast robb'd me of this deed: I would, revenges, That possible strength might meet,s would seek us
Well, 'tis done:-
Poor sick Fidele!
O thou goddess,
revenges, That possible strength might meet,] Such pursuit of vengeance as fell within any possibility of opposition. Johnson.
To gain his colour,] i. e. to restore him to the bloom of health, to recall the colour of it into his cheeks. Steevens.
7 I'd let a parish of such Clotens blood, I would, says the young prince, to recover Fidele, kill as many Clotens as would fill a parish. Fohnson.
“ His visage, (says Fenner of a catchpole,) was almost eaten through with pock-holes, so that half a parish of children might have played at cherry-pit in his face." Farmer.
They are as gentle
Their royal blood enchaf’d, as the rud'st wind, &c.] So, in our author's Lover's Complaint :
“ His qualities were beauteous as his form,
Malone. - 'Tis wonderful,] Old copies--wonder. The correction
That an invisible instinct should frame them
Where's my brother?
[Solemn Musick. Bel.
My ingenious instrument!
Gui. Is he at home?
He went hence even now.
in his Arms. Bel.
Look, here he comes,
The bird is dead,
is Mr. Pope's. So, in The Merry Wives of Windsor : “ Keep a good student from his book, and it is wonderful.” Steevens.
lamenting toys,] Toys formerly signified freaks, or frolicks. One of N. Breton's poetical pieces, printed in 1577, is called, “The toyes of an idle head.” See Vol. XI, p. 14, n. 6. Malone. Toys are trifles. So, in King Henry VI, P. I:
“ That for a toy, a thing of no regard." Again, in Hamlet:
“Each toy seems prologue to some great amiss." Steevens.
O sweetest, fairest lily!
O, melancholy !
Who ever yet could sound thy bottom?] So, in Alba, the Monthes Mind of a Melancholy Lover, by RT. 1598:
“ This woeful tale, where sorrow is the ground,
Malone. - what coast thy sluggish crare Might easiliest harbour in?] The folio reads:
- thy sluggish re? which Dr. Warburton allows to be a plausible reading, but sub. stitutes carrack in its room; and with this, Dr. Johnson tacitly acquiesced, and inserted it in the text. Mr. Simpson, among his notes on Beaumont and Fletcher, has retrieved the true reading, which is
thy sluggish crare. See The Captain, Act I, sc. ii:
let him venture “ In some decay'd crare of his own." A crare, says Mr. Heath, is a small trading vessel, called in the Latin of the middle ages crayera. The same word, though somewhat differently spelt, occurs in Harrington's translation of Ari. osto, Book XXXIX, Stanza 28:
“ To ships, and barks, with gallies, bulks and crayes,” &c. Again, in Heywood's Golden Age, 1611:
“ Behold a form to make your craers and barks.". Again, in Amintas for his Phillis, published in England's Heli
“ Till thus my soule dooth passe in Charon's crare." Mr. Tollet observes that the word often occurs in Holinshed, ag twice, p. 906, Vol. II. Steevens.
Perhaps Shakspeare wrote-thou, sluggish crare, might'st, &c. The epithet sluggish is used with equal propriety, a crayer being a very slow-sailing unwieldly vessel. See Florio's Italian Dict. 1598, “ Vurchio. A hulke, a crayer, a lyter, a wherrie, or such vessel of burthen.” Malone.
but 1,] This is the reading of the first folio, which later editors not understanding, have changed into but ah! The mean. ing of the passage I take to be this:--Fove knows, what man thou mightst have made, but I know, thou died'st, &c. Tyrwhitt.
I believe, “ but ah!" to be the true reading. Ay is through the