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ALB. Bear them from hence. Our present business Is general woe. Friends of my soul, you twain

[To KENT and EDGAR. Rule in this realm, and the gor'd state sustain.

KENT. I have a journey, sir, shortly to go;
My master calls me.--I must not say, no.

ALB. The weight of this sad time we must obey ;
Speak what we feel, not what we ought to say.
The oldest hath borne most: we that are young
Shall never see so much, nor live so long.

[Exeunt with a dead march.

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“It is no vicious blot, nor other foulness,

No unchaste action, or dishonour'd stoop,
That hath depriv'd me of your grace and favour."

Act I., Sc. 1. The original copies read :

There is great plausibility in the “It is no vicious blot, murther, or

change of “murther" to foulness,

other;” but we hesitate to adopt No unchaste action or dishonour'd

it. Without Cordelia supposing step."

she might be charged with murder,

it would be natural for her to enu. The corrections are in Mr. Collier's

merate such heinous offences as folio. Mr. Collier says that “ Cor

would have justified her father's delia could never contemplate that

great severity. The word

muranybody would suspect her of mur

ther” has not presented a difficulty der.” Step, Mr. Collier considers

to any commentator before Mr. an insignificant word.

Collier's publication.
6. The knave turns fool that runs away,

Tbe fool no knave perdy.”-FOLIO OF 1623.
6. The fool turns knave that runs away,
The knave no fool perdy."

JOHNSON, AND COLLIER'S FOLIO. “ The fool turns knave that runs away,

The fool no knave perdy.”—CAPELL. ACT II., Sc. 4. There is no doubt that the ori. Capell’s correction of one line ginal does not express the meaning is quite sufficient to retain the true intended.


“ Ask her forgiveness?
Do you but mark how this becomes the mouth :

Dear daughter, I confess that I am old.” Act II., Sc. 4. The original has “becomes the Capell long ago answered the house." Mr. Collier's corrected question which Mr. Collier puts in folio has mouth; and Mr. Collier such a prosaic form : “This is one asks,“ What has the house' to of the lines that mark Shakspere. do with it? They are talking out- The house is an expression worthy side Gloster's castle, and not in, of his genius. Fathers are not the nor referring to, any habitation." heads only of a house or family,

but its representatives; they are the house."



ADDITION. Act II., Sc. 2.

“ If thou deny'st the least syllable of thy addition.” Addition, in a legal document, is the particular description of

an individual. The attempts of the commentators to ex. plain the addition bestowed by Kent on the Steward are very unsatisfactory, and several, no doubt, are of the kind

we now call slang. AROINT. Act III., Sc. 4.

And, aroint thee, witch, aroint thee!”
Aroint is used here, and in 'Macbeth' (Act I., Sc. 3), by

Shakspere, and by no other old writer, nor is it found in
any dictionary. Much dispute has arisen as to its exact
meaning and derivation. The late Mr. Thomas Rodd en-
abled us to give the following happy explanation of it in
the ‘Pictorial Sbakspere,' which he there supported by many
collateral reasons. He says “it is conjectured that it is a
compound of ar or aer, and hynt: the first a very ancient
word, common to the Greek and Gothic languages in the
sense of to go; the second derived from the Gothic, and
still in common use under the same form, and with the
same meaning, hint, behind, &c., in English, and hint or
hynt in German.” Hence the meaning is clearly, “Go or
get behind me,” as in the New Testament, “Get thee behind

me, Satan.”

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BALLOW. Act IV., Sc. 6.

“Whether your costard or my ballow be the harder.” Grose in his ‘Provincial Glossary' gives ballou, as the north.

country word for pole. Edgar is speaking in the Somerset

shire dialect. BANS. Act II., Sc. 3.

“Sometime with lunatic bans.". Bans are curses : to be under the ban of the Church was to be

excluded from all religious rites. BEWRAY. Act II., Sc. 1.

He did bewray his practice."
Bewray is to reveal, to disclose. ·
BLOCK. Act IV., Sc. 6.

“ This a good block !”
Block, in Shakspere's time, was the term for a hato Steevens

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.conjectures that Lear takes his hat in his hand when he says, “I will preach to thee;" and, disliking the fashion, exclaims, "This a good block !” and then starts off, from

the association, to shoeing the horses with felt. BOURN. Act IV., Sc. 6.

“From the dread summit of this chalky bourn." Bourne, from the French borne, is properly a boundary. In a previous passage, —

Come o'er the bourn, Bessy, to me,” it is used for a rivulet, which is also a common meaning, and is the same as the Scottish burn, still in use. The “bosky bourn ” in Milton's 'Comus' is well explained by Warton as a deep, winding, and narrow valley, with a rivulet at the bottom. Such a bourn is a boundary, because it is a natural division. But in the 'Winter's Tale' (Act I., Sc. 2), Shakspere uses bourn even more strictly as a boundary :

“One that fixes

No bourn 'twixt his and mine." BRACH. Act I., Sc. 4.

“The lady brach may stand by the fire.” And Act III., Sc. 6,

“ Brach or lym.” See Glossary to 'Henry IV., Part II.' BROWN BILLS. Act IV., Sc. 6.

“ Bring up the brown bills.” Brown bills-bills for bill-men-were a class infantry, Marlowe, in his 'Edward II.,' has

"Lo, with a band of bowmen and of pikes,

Brown bills and targetiers.” CHARACTER. Act II., Sc. 1.

'My very character." Character is handwriting, used thus more than once by Shak. spere. In 'As You Like It' (Act III., Sc. 2), we have

“My thoughts I'll character." CLOTHIER'S YARD. Act IV., Sc. 6.

“ Draw me a clothier's yard.” Clothier's yard is the arrow of that length, as in 'Chevy Chace :

“An arrow of a cloth yard long

Up to the head drew he.”

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COMPACT. Act II., Sc. 2.

"When he, compact, and flattering his displeasure.” Compact is used in the sense of in agreement with, in confede

racy with.

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CONVEY. Act I., Sc. 2.

“Convey the business as I shall find means." Convey was frequently used in a bad sense; it here means to

manage, to conduct. CROW-KEEPER. Act IV., Sc. 6.

“That fellow handles his bow like a crow-keeper.” The rustic who kept crows from corn--one unpractised in the

right use of the bow-was the crow-keeper. CURIOSITY. Act I., Sc. 1.

Curiosity in neither can make choice.”
Curiosity is used in the sense of curious inquiry, exact scru-

tiny. In Scene 2, where Edmund speaks of the “curiosity

of nations,” the meaning is more that of fastidiousness. Each. Act IV., Sc. 6.

“ Ten masts at each make not the altitude." Ten masts at each may mean placed at the end of each other,

and in this sense Voss and Schlegel translate it. Some, however, think each a typographical error for reach. We can find no other example of a similar use of at each, but

the phrase conveys the meaning. ENRIDGED. Act IV., Sc. 6.

“And wav'd like the enridged sea.”
Enridged, which appears in the quarto, is a more poetical

word than enraged, which is given in the folio. In Venus
and Adonis,' Shakspere has the same idea :-
“Till the wild waves will have him seen no more,

Whose ridges with the meeting clouds contend."
Essay. Act I., Sc. 2.

“As an essay or taste of my virtue." Essay, assay, and say, were alike used for such proof as was

made by the assayer of coin, or the taster at royal tables. In Act V., Sc. 3, we have say in the same sense :

“And that thy tongue some say of breeding breathes." EXHIBITION. Act I., Sc. 2.

“Confin'd to exhibition." Exhibition is allowance. See Two Gentlemen of Verona.'

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