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prise impressed on the minds of the audience through the sense of hearing

From these proofs results the following definition which I have given of this wonderful art :

“ Writing may be defined to be the art of exhibiting to the sight the conceptions of the mind, by means of marks or characters, significant by compact of the sounds of language.”

1785, Dec.

LXXXVI. Parallel Passages and Remarks on Shakespeare.

MR. URBAN, PLEASE to insert the inclosed parallel passages, and remarks on Shakespeare, and you will oblige your correspondent,

T. H. W.

Tempest.----Act IV. Scene 1,
Pros.

For I
Have giv'n you here a third of mine own life,
Or that for which I live.

« Το γαρ ημισυ τας ζωιας εχω,
6
ταν σαν ιδεαν.”

Theocrit. Id. 29. v. 5,

The Merry Wives of Windsor. Act I. Scene 1.
Slen. She has brown hair, and speaks small* like a wo-

man.
" Then the company answered all,
With voices sweet entuned, and so small,
That me thought it the sweetest melody."

Chaucer. The Flower and the Leaf. « At last she warbled forth'a treble small, And with sweet lookes, her sweet song enterlaced."

Fairfar's Tasso. L. 15. stanza 62.

* In Hanmet's edition, 12mo. 1747, this emphatical word is omitted, Eth

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Measure for Measure.--Act III. Scene 1.

Claud.

The delighted spirit
To bathe in fiery floods, or to reside
In thrilling regions of thick-ribbed ice.

The epithet delighted seems to be so misplaced, that dife ferent commentators have proposed to read dilated, benighted, delinquent; but Shakespeare took delighted from the follow ing uncouth passage.

“ But round about the island, for the space of seven or eight moneths in the yere there floateth ise, making a miser able kind of mone not unlike to man's voice, by reason of the clashing together. The inhabitants are of opinion that in Mount Hecla, and in the ise, there are places wherein the soules of their countrymen are tormented.

“ No doubt a worthy augmentation of the history, concerning the hel of Island, shut up within the bottome of one mountaine, and that no great one; yea at some times, (by fits and seasons) changing places; namely, when it is weary of lurking at home by the fire's-side within the mountaine, it delighteth to be ranging abroad, and to venture to sea, but without a ship, and to gether itself round into morsels of yce."

Hakluyt's Voyages, Vol. I. P. 562.

Love's Labour's Lost.-Act V. Scene 2,

Biron.
To shew his teeth as white, as whale his bone.

The white whale his bone, which is now superseded by ivory, was the tooth of the horse-whale, morse, or walrus, as appears by King Alfred's preface to his Saxon translation of Orosius.

Song.–Act V. Scene 2.

Nightly sings the staring owl
To-whit! to-whoo!
To-whit, to-whoo the owle does

Lylly's Mother Bombie."

cry."

Midsiinimer-Night's Dream. Johnson doubts whether Shakespeare in this play, or Drayton in his Nimphidia, first produced the system of the fairy empire. But if Drayton wrote the Nimphidia after the Midsummer-Night's Dream had been acted, he could with very little propriety say,

“ Then since no muse hath bin so bold,
Or of the LATTER, or the ould,
Those elvish secrets to unfold,

Which lye from others reeding,
My active muse to light shall bring
The court of that proud fayry king
And tell there of the revelling,
Jove prosper my proceeding !"

Act II, Scene 1,

Puck.

When I a fat and bean-fed horse beguile,
Neighing in likeness of a silly* foal.

Scene 2.

: 2ueen. The childing autumn “ An hundreth plants beside (even in his sight) Childed an hundreth nymphes, so great, so dight."

Fairfax'ş Tasso, B, 18 Stan. 26. Childing is also an old term in botany, when a small flower grows out of a large one, " The childing aus tuun," . e. producing flowers on those of summer. Florists have a childing rose, a childing daisy, and a childing scabious.

Act III. Scene 7,

Hel. .

But you must join in soulst, to mock me too.

* Filly?

+ Shoals

Macbeth. Act II. Scene 2.
Macb.

Will all great Neptune's ocean wash this blood
Clean from my hand? No.
“ Non si Neptuni fluctu renovare operam des;
Non, mare si totum velit eluere omnibus undis."

Lucret. l. 6. v. 1074.
Act III. Scene 2.
Macb.
The shard-born beetle with his drowsy hums

Hath rung night's yawning peal.
As the meaning of the epithet shard-born is yet unsettled,
I give the following from Dryden:

“ Such souls as shards produce, such beetle things,
As only buzz to heaven with evening wings.”

The Hind and the Panther.

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Act V. Scene l.
Doct.
My mind she has mated, and amaz’d my sight,
“Yet with these broken reliques, mated mind,
And what a justly-grieved thought can say."

Scory to Drayton.
King John.-Act I. Scene 1.
Gur. Good leave, good Philip.
Phil. Philip ! sparrow ! James,

There's toys abroad.
The sparrow is called Philip from its note.

Cry
Phip phip the sparrowes as they fly."

Lylly's Mother Bombie. The second part of King Henry IV --Act III. Scene 2. Bard.

Accommodated; that is, when a man is, as they say, accommodated; or when a man is, being whereby he may be thought to be accommodated, which is an excellent thing.

The following is a parallel explanation of the word obnoxious.

“Quis adeo tam linguæ Latinæ ignarus est, quin sciat eum dici obnoxium, cui quid ab eo, cui esse obnoxius dicitur, incommodari et noceri potest, et qui habeat aliquem noxæ, il est culpæ suæ conscium.'

Aut. Gell. Noct. Attic. l. 7. c. 17.
Cymbeline.-- Act II, Scene 3.

Song.
Hark! hark! the lark at heaven's gate sings

And Phæbus 'gins arise.

Imitated from Lylly.

Song:
" The larke so shrill and cleare,
How at heaven's gates she claps her wings,
The morne not waking till she sings.

Alexander and Campaspe.

Hamlet.-Act V. Scene 1.

Laer. Lay heri' the earth;

And from her fair and unpolluted flesh
May violets spring !
“Nunc non e tumulo, fortunataque favilla
Nascentur viola?"

Pers. Sat. i. V.39.

MR. URBAN, Your learned correspondent T. H. W. has not shewn his usual attention to the lines froin Theocritus, cited as a parallel passage to the following clause of Prospero's address to Ferdinand respecting Miranda. Tempest, Act iv. Scene i. init.

For I
Have giv'n you here a third of my own life;

Or that for which I live: the words in the Greek poet being mustu ons was the half of life.” There is, however, an expression in Othello that is very similar, viz. Act i. Scene ii. where Iago, alarming Brabantio with the elopement of his daughter, tells him,

Your heart is burst, you have lost half your soul;

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