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1: „And made lym all the onely meants
»To sue for his redresse,
„That caused his distressc,
„Was straight with hym in love,
„From Claudia's mynde renove.
„By hym his sutes toke place,
„To se his Ladyes face.
„Valerius sore did sewe,
„His mayster's gryefe to rewe.
„Release his master's payne,
„Nor șe her ones agayne,“ etc. Thus' also concludes the first scene of the third act of the Play before us:
„And so adieu, good Madam;, never more „Will I my master's tears to you deplore,“ etc.
I offer-no apology for the length of the force going extract , the book from which it is taken, being so uncommon, that only one copy, except that in my own possession, has hitherto occurred. Even Dr. Farmer, the late. Piev. T. Warton, Mr. Reed, and Mr. Malone, were unacquainted with this Collection of Googe's Poetry. August 6, 2007, a Comedy called What
youl Will (which is the second title of this play), was entered «at Stationers' Hall by Tho: Thorpe.' I believe, however, it was Marston's play with
that name. Ben Jonson, who takes every opportunity 10 find fault with Shakspeare,' seems to: ridicule the conduct" of Twelfth Night in his Every man out of his llunour", at the end of Act 114. sc.,vi. where he makes Mitis say, „That the argument of his comedy might have been of some other nature, as of a Duke to be in love with à Count. ess,
and that Countess to be in love with the Duke's son, and the son in love with the lady's waiting maid: some such cross wooing, with a clown co their serving man, better than be thus near and familiarly allied to the time.“ STEEVENS.
I suppose this comedy to have been written in 1614. If however the foregoing passage was levelled at Twelfth Night, my speculation falls to the ground. See An Attempt to ascertain the order of Shakspeare's plays. ? MALONE, Page 2, line 8. the sweet south,] The old
-, sweet sound, which Mr. Rowe changed into wind, and Mr. Pope into south.
STEEVENS. I see no reason for disturbing the text of the old copy,
which reads Sound. The wind, from whatever quarter, would produce a sound in breathing on the violets, or eise the simile is false. Besides, sound is a better relative to the antecedent, strain. Douce. P. 2, 1. 15. Validity is here used for value.
MALONE. 1. 18. High • fantastical, means fantastical to the height. STEEVENS. P. 2, 1. 36. 27. And my, desires, like fell and
cruel hounds, ! L'ér since pursue me. -í This image, evidently alludes to the story of Acteou, by which shakspeare eems to think wen cautioned against 109 :
great familiarity with forbidden beauty. Acteon, who saw Diána naked, and was torn to pieces by his hounds, represents a man, who indulging his eyes, or his imagination, with the view of a woman that he cannot gain, has his heart torn with incessant longing. An interpretation far more elegant and natural than that of Sir Francis Bacon, who, in his Wisdom of the Ancients, supposes this story to warı us against enquiring into the secrets of Princes by shewing, that those who know that which for reasons of state is to be concealed, will be detected and destroyed by their own servants. JOHNSON, P. 3, 1. 4. Heat for heated.
The air, till it shall have been warmed by seven revolutions of
shall not, etc. MALONE. P. 5, 1. 16.
the flock of all affections' -] So, in Sidney's Arcadia: ,, has the flock of unspeakable virtues.“
STEEVENS. 1. 28. These sovereign thrones,] We should read three sovereign thrones. This is exactly in the manner of Shakspeare. So, after wards, in this play, Thy tongue, thy face, thy limbs, 'actions, and spirit, do give theě firefold blazon. WARBURTON.
'P. 5, 1. 17 — 19. Liver, brain, and heart, are admitted in poetry as the residence of passions, judgment; and sentiments. These are what Shakspeare calls, her sweet perfections, though he has not very clearly expressed what he might design to have said.
STEEVENS. P. 3, l. 19. Self-King means self-same King; one and the same king: MALONE.
P. 3, 1. 29. There is seemingly a play upon the words Illyria and Elysium.' DOECE.
P.-4, 1. 6. and that poor number sav'd with you,} We should rather read this poor number. The old copy has these. The sailors who were saved, enter with the captain. MALONE.
P. 4, 1. 21. A noble Duke in nature, name.] I know not whether the nobility of the name is comprised in Duke, or in Orsino, which is, I think, the name of a great Italian family.
JOHNSON, P. 5, 1. 3. and fol.
Vio. O, that I serv'd that lady;
What my estate is!] I wish I might not be made public to the world, with regard to the state of my birth and fortune, till I have gained a ripe opportunity for my design.
Viola seems to have formed a very deep design with very little premeditation: she is thrown by shipwreck on an unknown coast, hears that the Prince is a bachelor, and resolves to supplant the lady whom he courts. JOHNSON.
P. 5. 1. 18. P'll serue this Duke)] Viola id an excellent schemer, never at a loss; if she can, not serve the lady, she will serve the Duke.
JOHNSON.' P. 5, 1. 19. Thou shalt present me eunuch to him, ] This plan of Viola's was pursued, as it would have been inconsistent with the plot of the play. She was presented to the Duke as a page, but not as à eunuch.
M. MASON. The use of Evirati, in the same manner as at present,
to have been well known at the time this play was written, about 1600.
When the practice of castration (which origi. nated certainly in the east) was first adopted, solely for the purpose of improving the voice, I have not been able to learn. The first regular opera, as Dr. Burncy observes to me, was perform. ed at. Florence in 1600: „till about 1635, musi: cal dramas were only performed occasionally in the palaces of Princes, and consequently before that time eunuchs could not abound. The first eunuch that was suffered to sing in the Pope's chapel, wes in the year 1600.“
So early, however, as 16044, eunuchs are men. tioned by Marston, one of our poets contempora. ries, as excelling in singing. MALONE. P. 5, l. 22, To allow is to approve.
STEEVENS. P. 6, 1. 4. Wiy, let her except before excepced.) A ludicrous use of thü formal law phrase. ·
FARMER. P. 6, 1. 27. Tall means stout, courageous,
STEEVENS. P. 6, 1. 25. The viol-de-gambo seems, in our author's titne, to have been a very fashionable instrimcnt. COLLINS.
In the old dramatic writers, frequent mention is made of a case of viols, consisting of a violde• gambo, the tenor and the treble.
Sec Sir John Hawkins's Hist. of Musick, Vol. IV. p. 32, n. 338, wherein is a description of a case more properly termed a chest of viols.
STEEVENS. P. 6, 1. 26. He hath, indced, almost natitral :) Mr. Upton proposes to regulate this passage differently: He hath indeed, all, most natural, MALONE.