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CRITICAL CONJECTURAL, AND
EXPLANATORY,

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UPON THE

PLAYS OF SHAKSPEAREo

RESULTING FROM
A COLLATION OF THE EARLY COPIES,
with that of
JOHNSON AND STEEVENS,

EDITED BY

ISAAC REED, Esq.

TOGETHER WITH
SOME VALUABLE EXTRACTS FROM THE MSS.

OF THE LATE Big HT HONOURABLE

JOHN, LORD CHED WORTH.

DEDICATED TO

RICHARD BRINSLEY SHERIDAN, Esq.

By E. H. SEKMOUR.

VOL. II

LONDON:
Printed by J. Wright, St. John's Square, Clerkenwell;
FOR LACKINGToN, ALLEN, AND Co.; LoNG MAN, HURST, REEs,
AND or ME.; F. AND c. RIVINGTON : W. J. AND J. RICHARD-
SON ; CUTHELL AND MARTIN : T. EGERTON ; R. FAULDER ;
VERNOR AND HooD ; , J. CARPENTER ; R. H. Eva Ns 3 S.
BAGSTER ; AND J. As PERNE. -

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UPON THE

PLAY'S OF SHAKSPEARE.

JULIUS CAESAR.

ACT I. SCENE I.

256. “Be not out with me.”

i. e. Be not out of humour with me'; be not unkindly disposed towards me: the phrase is still current in Ireland.

258. “ There have sat.”

This corrupt use of the imperfect past tense for the perfect, sitten, has become so general as to make propriety almost obsolete.

“That Tyber trembled,” &c.

Insomuch that Tyber trembled, &c. as in Macbeth:

“– There's one did laugh in his sleep, and one cried murder, “That they did wake each other.”

& Co. JWeep 3your tears
* Into the channel, till the lowest stream

“Do kiss the most evalted shores of all.”
WOL. II. Tö

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This thought, without the extravagance of the hyperbole, occurs in As You Like It:

& 4 – Thus the hairy fool -
“Stood on the extremest verge of the swift brook,

:: ... “Augmeiiting it with tears.” - •

#3: ... scENE II.

261. “JWhen Caesar says, do this, it is perform'd.”

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This, like many other fragments, is evidently an idle interpolation; it is utterly useless to the sense and spirit of the dialogue, and disfigures the verse. The removal of this hemistic would ob

viate Mr. Steevens's anxiety about the prosody in what follows.

“I have not from your eyes that gentleness,
“And shew of love, as I was wont to have.”

This mode of speech, the using “as,” for that, is an abuse which our poet himself seems to have been prompt to reprehend, if I mistake not, the meaning of a passage in Coriolanus, where Menenius, railing at the citizens, says, “I find the ass (quibble upon ass and as) in compound with the major part of your syllables.”

“If I have veil'd my look,
“I turn the trouble of my countenance
“Merely upon myself.” - -
I do not know what Brutus could mean by
veiling his countenance, unless he wore a mask,

which is by no means implied: I believe the word has been misprinted, and that we should read “vail'd,” if I appear to have a dejected, or castdown look: “to vail,” in the sense of to bow, submit, is frequently occurring:

“If he have power, then vail your ignorance.”

. . . . Coriolanus. . . “Wailing their high tops lower than their ribs.” - - Merchant of Venice.

, & © Weaved I am,

“Of late, with passions of some difference.” With contending passions.

264. Then, Brutus, I have much mistook your passion.”

This abuse of the tense may be found in writers who are supposed to be, generally, more correct than Shakspeare. We might, however, easily read, for “mistook,” mista'en.

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This fragment might be spared, and Cassius proceed, connectedly enough, without such interruption of the measure.

“For that which is not in me.”

Both the metre and the sense of the context shew that some words have been lost here: Cassius, I suppose, replied,

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