may mean he is a rogue, and a mean low fellow. TOLLET.

Ben Jonson also mentions the pavin, and calls it a Spanish dance, Alchemist, p. 97; [Whalley's edition] but it seems to come originally from Padua, and should rather be written pavane as a corruption of paduana. A dance of that name (saltatio paduana) occurs in an old writer, quoted by the annotator on Rabelais, B. V.

C. 30.

Passy measures is undoubtedly a corruption,

but I know not how it should be rectified,

小

TYRWHITT.

The pavan, from pavo a peacock, is a grave and majestick dance. The method of dancing it was anciently by gentlemen dressed with a cap and sword, by those of the long robe in their gowns, by princes in their mantles, and by ladies in gowns with long trains, the motion whereof in the dance, resembled that of a peacock's tail. This dance is supposed to have been invented by the Spaniards, and its figure is given with the cha racters for the step, in the Orchesographia of Thoinet Arbeau. Every pavin has its galliard, a lighter kind of air, made out of the former. The courant, the jig, and the hornpipe are sufficiently known at this day.

Of the passamezzo little is to be said, except that it was a favourite air in the days of Q. Elizabeth. Ligon, in his History of Barbadoes, mentions a passamezzo galliard, which in the year 1647, a Padre in that island played to him on the lute; the very same, he says, with an air of that kind which in Shakspeare's play of Henry IV. was originally played to Sir John Falstaff and Doll Tearsheet, by Sneak, the musician, there

1

named. This little anecdote Ligon might have, by tradition; but his conclusion, that because it was played in a dramatic representation of the history of Henry IV. it must be so ancient as his time, is very idle and injudicious. Passy measure is therefore undoubtedly a corruption from passa SIR J. HAWKINS.

mezzo.

With the help of Sir John Hawkins's explanation of passy measure, I think I now see the meaning of this passage. The second folio reads: after a passy measures pavin. So that I should imagine the following regulation of the whole speech would not be far from the truth:

Then he's a rogue. After a passy measure or a pavin, I hate a drunken rogue, i. e. next to a passy-measure or a pavin, etc. It is in, character, that Sir Toby should express a strong dis like of serious dances, such as the passamezzo and the pavan are described to be. TYRWHITT,

From what has been stated, I think, it is manifest that Sir Toby means only by this quaint expression, that the surgeon is a rogue, grave solemn coxcomb. It is one of Shakspeare's unrivalled excellencies, that his characters are

and a

always consistent. Even in drunkenness they preserve the traits which distinguished them when sober. Sir Toby, in the first act of this play, shewed himself well acquainted with the various kinds of the dance. MALONE.

I have followed Mr. Tyrwhitt's regulation, which appears to be well founded. STEEVENS. P. 79, I. 27. 28. Will you help an ass - head, and a coxcomb, and a knave? a thin-faced knave, a gull? I believe, Sir Toby means to apply all these epithets either to the surgeon or Sebastian; and have pointed the passage accordingly.

It has been hitherto printed,,,Will you help an ass-head," etc. but why should Sir Toby thus unmercifully abuse himself? MALONE.

As I cannot help thinking that Sir Toby, out of humour with himself, means to discharge these reproaches on the officious Sir Andrew,, who also needs the surgeon's help, I have left the passage as I found it. Mr. Malone points it, thus:,, Will you help? An ass-head," etc! STEEVENS.

P. 80, l. 8- A perspective seems to be taken for shows exhibited through a glass with such lights as make the pictures appear really protube raut. The Duke therefore says, that nature has here exhibited such a show, where shadows seem realities; where that which is not appears like that which is. JOHNSON.

I believe Shakspeare meant nothing more by this natural perspective, than a reflection from a glass or mirror. M. MASON.

Perspective, certainly means a glass used for optical delusion, or a glass generally. Dotce. P. 80, 1. 22. Of charity,

STEEVENS.

i. e. out of chari

ty, tell me, etc. P. 81, 1. 14. All the occurrence of my fortune etc.] I believe our author wrote – occurrents. MALONE.

-P, 82, 1. 8. A most extracting frenzy of mine own] i. e. a frenzy that drew me away from every thing but its own object. WARBURTON. P. 82, 1. 17 24. I am by no means certain that I understand this passage, which, indeed, the author of The Revisal pronounces to have no meaning. I suppose the Clown begins reading the letter in some fantastical maimer, on which Olivia asks him, if he is mad. No, Madam, says he, I do but barely deliver the sense of

this madman's epistle;

if you would have it

read as it ought to be, that is, with such a frantic accent and gesture as a madman would read it, you must allow vox,

furnish the reader with a voice, words, read it yourself.

i. e. you must or, in other

But Mr. Malone's ex

planation, I think, is preferable to mine.

The Clown, we may presume, had begun to read the letter in a very loud tone, and probably with extravagant gesticulation. Being reprimanded by his mistress, he justifies himself by saying, If you would have it read in character, as such a mad epistle ought to be read, you must permit me to assume a frantick one. MALONE.

P. 82, 1. 26. So I do, Madonna; but to read his right wits, is to read thus:] To represent his present state of mind, is to read a madman's letter, as I now do, like a madman. JoHNSON.

P. 83, I. 14. One day shall crown the alliance on't, so please you,] The word on't, in this place, is mere nonsense. I doubt not the poet wrote: an't, so please you. HEATH.

This is well conjectured; but on't may relate to the double character of sister and wife.

JOHNSON.

P. 83, 1. 20. So much against the mettle of your sex,] So much against the weak frame and constitution of woman. Mettle is used by our author in many other places for spirit; and as spirit may be either high or low, mettle seems here to signify natural timidity, or deficiency of spirit. MALONE.

P. 84, 1. 8.. and the lighter people:] People of less dignity or importance. JOHNSON.

P. 84, I. 12. geck,] A fool.

JOHNSON.

P. 84, 1. 18.

then cam'st in smiling, i. c. then, that thou cam'st in smiling. MALONE.

I believe the lady means only what she had clearly expressed: then thou camest in smiling;" not that she has been informed of this cir cumstance by Maria. Maria's account, in short, was justified by the subsequent appearance of Malvolio. STEEVENS.

P. 84, 1. 19. Presuppos'd, for imposed.

WARBURTON.

Presuppos'd rather seems to mean previously pointed out for thy imitation; or such as it was supposed thou would'st assume after thou hadst read the letter. The supposition was previous to

P. 84, 1. 32. We have conceiv'd against him:] Surely we should rather read conceiv'd in him.

TYRWHITT.

P. 84, I. 33. Importance is importunacy, importunement.

STEEVENS.

you

P. 85, 1. 9.-10. But do remember? Madam, why laugh you etc.] The old copy points" this passage erroneously: ,,But do you remember, Madam," etc. I have followed the regula tion proposed in the subsequent note. STEEVENS' As the Clown is speaking to Malvolio, and not to Olivia, I think this passage should be regulated thus but do you remember? Madam, why laugh you,' etc.

TYRWHITT.

P. 85, l. 18. and fol. and golden time convents,] Perhaps we should read

consents. To

convent, however, is to assemble; and therefore," the Count may mean, when the happy hour calls us again together. STEEVENS,

i. e. shall serve, agree, be convenient.