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When she had prepared you ; made you ready for her purpose. 627. Though he have serv'd a Roman."

This is not the subjunctive sense; it should be, " Though he has serv'd a Roman-” the particles “ though," and "if,” denoting, sometimes as they both do, the subjunctive mood, are often carelessly mistaken as the absolute signs of it.

" Your life, good master,

Must shufle for itself.This ingratitude of Imogen does not at all suit with her general character, and is, perhaps, an additional argument, to many which I think are obvious, that much of this play is spurious. 629. Thou'lt torture me to leave unspoken

that " Which, to be spoke, would torture thee.Cymbeline had commanded Iachimo to speak, on pain of the torture, and Iachimo replies, that it would be torture to him not to speak; the sense, therefore, requires that the passage should proceed thus: “ Thoudst torture me to leave unspoken that “ Which, to be spoke, will torture thee.” 631. “ For feature, laming

The shrine of Venus.”— But Posthumus, on the occasion referred to, gave no such extravagant description of his mistress; and, as Iachimo at this time has renounced imposture, there is an evident inconsistency in the passage.

633. “ It is I

That all the abhorred things othe earth

amend, By being worse than they.. This thought is introduced in King John, Act 4, Scene 3: “ All murders past do stand excus’d in this ; “ And this, so sole and so unmatchable, “ Shall give a holiness, a purity, “ To the yet unbegotten sin of time, “ And prove a deadly bloodshed but a jest, “ Exampled by this heinous spectacle.” 634. "Shall's have a play of this ?

In the fourth act we found this barbarism before :

" Where shall's lay him ?” 637. I had a feigned letter of my master's."

Pisanio is unwilling to disclose to the king the savage jealousy of Posthumus : the letter was not feigned. 639. The whole world shall not save him.

The king is in a very vindictive and ungrateful humour. 640. “ - Those arts they have, as I

"Could put into them.The instances of harsh construction and false grammar that abound in an unusual measure in this play, are, I think, chiefly to be ascribed to sophistication. 641. “_ Beaten for loyalty

Excited me to treason."

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This is a very vicious expression-the passive participle is made the nominative noun: it should be "the being beaten," &c. 643. “ O rare instinct !

Here, contrary to general usage in these works, instinct has the accent on the first syllable. 645. “ Made you finish.“ Finish,” for “ die,” occurred before. "

Take that " Which I so often owe.i. e. Which I so often have forfeited : but it is strangely expressed.

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It will be impossible for me to entertain a belief that the whole of this play, or even a very large portion of it, is of the hand of Shakspeare, or of any one author: it seems sometimes to be a little in the style of Beaumont and Fletcher, and sometimes, in places, perfectly in the style of the author of the obscure and unintelligible parts of the Tempest; which no attentive critic can possibly attribute to our poet, after a perusal of his earliest works, wherein no crudities are to be found.




5. Timon's House -- Enter Poet, Painter,

Jeweller, Merchant, &c. It is clear the dialogue was intended to be metrical; but it has been miserably deranged : the commencement might be regulated in some such way as this: Poet. " Good day, good sir.” Paint. “ I'm glad to see you sir." 6. A most incomparable man; breath'd as it

were.There is no force or use in the word “ most,” before “incomparable ;” and, as it only loads the verse, it should be dismissed : the line would be complete, “ Incomparable man; breath'd as it were,” &c. 7. He passes,&c. This is lame: I suppose it was written,

Indeed, he passes.”Jew. " - I hăve a jewel here.”

Again the metre wants regulation. Mer. “ 'Tis a good form.”


Jew. “And rich : here is a water ; look you.”. Paint. "

You " Are rapt, sir, in some work, some de

dication.” 8. Our poesy is as a gum, which oozes.

Which flows naturally forth-is not with violence extracted.

" Our gentle flame
Provokes itself, and, like the current, flies
Each bound it chafes.

The allusion seems to be to the retreat of the waters, after their assault upon the shores; but congruity, as Mr. Henley remarks, is not, perhaps, to be looked for in the language of this poetaster. 9. Lets see your piece.

The metre is defective-we might read:
Poet. « Let's see your piece.”
Paint. “ It is a goodly piece.”
10. “ How this grace

Speaks his own standing.Perhaps the obscurity of this passage was des signed in the affected expression of the poetaster, and yet the remainder of the speech is of a very different character:

" What mental power
“ This eye shoots forth ! how big imagination

“ Moves in this lip."
12.How this lord's follow'd.

To this hemistic might be added, with a sup

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