Dr. Farmer would read fat instead of tall, the former of these epithets, in his opinion,、 being referable to the following words a good hou P. 67, 1. 18. — a careful man, and a great scholar.] This refers to what went before: I am not tall enough to become the function well, nor lear enough to be thought a good student: it is plain then Shakspeare wrote: as today u graceful man, il e. comely. To this the Oxford editor says, rectè. WARBURTON. ' as to intitle A careful man, I believe,` means a man who has such a regard for his character, him to ordination. -STEEVENSAS M P. 67, 1. 19. The competitors confederates or associates. The word competitor is used in the same sense in Richard III. and ih. the Two Gentlemen of Verona. M. MASON. W that is, the PA67, 124. That, that is, is] This is a very humourous banter of the rules established in the schools, that all reasonings are ex praecognitis et praeconcessis, which lay the foundation of every science in these maxims, whatsoever is, is; and it is impossible for the same thing to be and not to be; with much trifling of the like kind. མནྜ་དང་གོ་ WARBURTON. P. 68, 1. 14. that house that mansion, in which you are now confined. The clown gives this pompous appellation to the small room in which Malvolio, we may suppose, was confined, o exasperate him. The word it in the clown's next speech plainly means Malvolio's chamber, and confirms this interpretation. MALONE. P. 168, 1. 16. A bay window is the same as a bow-window; a window in a recess, ombay. See A. Wood's Life, published by T. Hearne, 1750, P. 548 and 553. STEEVENS. See Minshen's Dicт. in v.'„A bay-window, 'because it is builded in manner of a baie or rode for shippes, that is, round. L. Cavae fenestrae. G. Une fenestre sort anthors de la maison." MALONE. P. 68, 1. 29. — any constant question. settled, a determinate, a regular question. - a JOHNSON. Rather, in any regular conversation, for so generally Shakspeare uses the word question. MALONE. P. 69, 1. 4. The Clown mentions a woodcock particularly, because that bird was supposed to have very little brains, and therefore was a proper ancestor for a man out of his wits. MALONE. P. 69, 1. 8. I am for all waters.] A phrase taken from the actor's ability of making the `audience cry either with mirth or grief. WARBURTON. I rather think this expression borrowed from sportsmen, and relating to the qualifications of a complete spaniel. JOHNSON, A cloak for all kinds of knavery; taken from the Italian proverb, Tu hai mantillo da ogni I can turn my hand to any thing; I can assume any character I please; like a fish, I can swim equally in all waters. The equivoque suggested in the following note may, however, have been also in our author's thoughts. MALONE.. The word water, as used by jewellers, denotes the colour and lustre of diamonds, and from thence is applied, though with less propriety, to the colour and hue of other precious stones. I think that Shakspeare, in this place, alludes to this sense of the word water, not to those adopted either by Johnson or Warburton. The Clown is complimented by Sir Toby, for personating Sir Topas so exquisitely; to which he replies, that he can put on all colours, alluding to the word Topaz, which is the name of a jewel, and was also that of the Curate. M. MASON. Mr. Henley has adopted the same idea; and adds, that,,the Clown in his reply plays upon the name of Topas, and intimates that he could sustain as well the character of any other person, let him be called by what gem he might." 1 STEEVENS. P. 69. 1. 19. and fol. Hey Robin, jolly Robin, etc.] This song should certainly begin: ,,Hey, jolly Robin, tell to me ,,How does thy lady, do? ,,My lady is unkind, perdy. ,,Alas, why is she so? FARMER. This song seems to be alluded to in the following passage of The Merchandises of Popish Priestes, 4to. 1629, Sign. F. 2. ,,there is no one so lively and jolly as St. Mathurine I can best describe you this arch singer, by such common phrase as we use of him whom we see very lively and pleasantly disposed, we say this, head is full of jolly Robbins.“ REED. P. 69, 1. 53. www His your five wits?] Thus the five senses were anciently called. STEEVENS. The Wits, Dr. Johnson some where observes, were reckoned fine in analogy to the five senses. From Stephen Hawes's poem called, Graunde Amoure, ch. xxiv. edit. 1554, it appears that the five wits were ,,common wit, imagination, fantasy, estimation, and memory.% Wit in our author's time was the general term for the intel lectual power. MALONE. P. 70, 1. 3. They have here property'd me;] They have taken possession of me, as of a man unable to look to himself. JOHNSON. P. 70, 1. 11. 12. 13. Here the Clown in the 'dark acts two persons, and counterfeits, by varia tion of voice, a dialogue between himself and Sir Topas. I will, Sir, I will, is spoken after a pause, as if, in the mean time, Sir Topas had whispered. JOHNSON + P. 70, 1. 17. - shent P. 70, 1. 27. are you not mad indeed? or do you but counterfeit? -] If he was not mad, what did he counterfeit by declaring that he was not mad? The fool, who meant to insult him, I think, asks, are you mad, or do you but counterfeit? That is, you look like a madman, you talk like a madman: Is your madness real, or have you any secret design in it? This, to a man in poor Malvolio's state, was a severe taunt. JOHNSON. The meaning of this passage appears to me to be this. Malvolio had assured the Clown that he was as well in his senses as any man in Illy. ria; and the Clown in reply, asks him this pro voking question: Is it true that you are really not mad?" that is, that you are really in your right senses, or do you only pretend to be so? M. MASON. Dr. Johnson, in my apprehension, misinterprets the words, do you but counterfeit?" They surely mean, ,,do you but counterfeit madness, or, in other words," assume the appearance of a madman, though not one." Our author ought, I think, to have written, either,,,- are you mad indeed, indeed, or do you but counterfeit?" or else,,,are you not not mad indeed, and do you br counterfeit ? But I do not suspect any corruption, for the last I have no doubt was what he meant, though he has not expressed his meaning accurately. He is often careless in such minute matters. Mr. Mason's interpretation removes the diffienky; but, considering the words that immediately precede, is very harsh, and appears "tỏ Be admissibles MALONE. P. 71, 1. 2. The vice was the fool of the 'old' moralities Some traces of this character are still preserved in puppet-shows, and by country mummers. JOHNSON This character was always acted in a mask; it probably had its name from the old French word vis, for which they now use visage, though they Still retain ft in vis à vis, which is literally, face to face." STEEVENS.' P. 71, 1. 9. Adieu, goodman drivel.] This last line has neither rhime nor meaning. "I cannot But suspect that the fool translates Malvolio's fame, and says: 3 Adieu, goodman meäh-evil. JOHNSON. 3. We have here another old catch; apparently, I *Think, not of Shakspeare. I am therefore willing to receive the common reading of the last line: Adieu goodihan drivel. ^\/ The name of Malvolio seems to have been form'd by an accidental transposition in the word, Malivolio. I know not whether a part of the preceding line should not be thrown into a question,,,pare thy nails, dad ? « 2 In Henry V. we again meet with,,this roaring 'devil 'ï'th" old' play; every one may pare his nails with a wooden dagg" FARMER." VOL. II. 17 |