vented by the Spaniards, and its figure is given with the characters for the steps 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 Queen 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 Shakspere's play of Hen. IV. was originally played to Sir John Falstaff and Doll Tearsheet, by Sneak, the musician, there named. This little anecdote Ligon might have by tradition, but his conclusion, that because it was played in a dramatick representation of the history of Hen. IV. it must be so ancient as his time, is very idle and injudicious.- -Passy-measure is therefore undoubtedly a corruption: from passamezzo.

Sir J. HAWKINS. 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 measure's pavin.-So that I should imagine the follow.. ing 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, &c. It is in character that Sir Toby should

express a strong dislike of serious dances, such as the passamezzo and the pavin are described to be.

TYRWHITT.

I have followed Mr. Tyrwhitt's regulation.

STEEVENS.

225. A natural perspective,] I apprehend this may be explained by a quotation from a duodecimo book called Humane Industry, 1661, p. 76 and 77: "It is a pretty art that in a pleated paper and table furrowed or indented, men make one picture to represent several faces- -that being viewed from one place or standing, did shew the head of a Spaniard, and from another the head of an ass." "A picture of a Chancellor of France presented to the common beholder a multitude of little faces-but if one did look on it through a perspective, there appeared only the single pourtraicture of the Chancellor himself." Thus that, which is, is not, or in a different position appears like another thing. This seems also to explain a passage in K. Henry V. sc. ii. : "Yes, my lord, you see them perspectively, the cities turn'd into a maid.” TOLLET.

292. A most extracting frenzy] i. e. a frenzy hat drew me away from every thing but its own object. WARBURTON.

Since I wrote my former note, I have met with a passage in the Historie of Hamblet, bl. 1. 1608, Sig. C. 2. that seems to support the reading of the old copy: -to try if men of great account be extract out

of their wits."

MALONE.

305.

-you must allow vox.] 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 manner, on which Olivia asks him, if he is mad. No, madman, 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 frantick accent and gesture as a madman would read it, you must allow voxi. e. you must furnish the reader with a voice, or, in other words, read it yourself.. STEEVENS.

I rather think the meaning is- -If you would have it read in character, as sush a mad epistle ought to be read, you must permit me to assume a frantick tone. MALONE. -but to read his right wits,- -] Perhaps so,but to read his wits right 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.

327. 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.

REVISAL.

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

331.

JOHNSON.

-So much against the mettal of your sex,]

The old copy reads, I think rightly :

So much against the mettle of your sex.

i. e. so much against the natural disposition of your

sex.

So, in Macbeth:

❝thy undaunted mettle should compose

Hiij

"Nothing

"Nothing but males.”

The reading which has been substituted affords, in my apprehension, no meaning. Mettle is here, as in many other places, used for spirit, or rather for timidity, or deficiency of spirit.

Our author has taken the same licence in All's Well that ends Well:

"'Tis only title thou disdain'st in her

i. e. the want of title. Again, in King Richard III. "The forfeit, sovereign, of my servant's life."

i. e. the remission of the forfeit..

MALONE. 348. cross gartered-yellow stockings,] In an entertainment called Cupid and Death, by Shirley, 1653, a host enters in yellow stockings and cross garter'd. STEEVENS.

350. lighter] People of less dignity or im

portance.

354.

-geck] A fool.

JOHNSON.

JOHNSON.

So, in the vision at the conclusion of Cymbeline:

"And to become the geck and scorn

"Of th' other's villany."

Again, in Ane verie excellent and delectabill Treatise intitulit PHILOTUS, &c. 1603:

"Thocht he be auld, my joy, quhat reck,

"When he is gane give him ane geck,

"And take another be the neck."

Again:

"The carle that hecht sa weill to treat you,
"I think sall get ane geck.”

361.

STEEVENS.

here were presuppos'd] Presuppos'd

seems

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 the act. STEEVENS. 373. Upon some stubborn and uncourteous parts

We had conceiv'd against him :

Surely we should rather read-conceiv'd in him.

375.

TYRWHYTT.

-at Sir Toby's great importance ;] import

ance is importunacy, importunements. 381. Alas, poor fool!—

act v. sc. iii.

STEEVENS.

-] See notes on K. Lear,

REED.

-how have they baffled thee?] See Mr. Tollet's note on a passage in the first scene of the first act of K. Rich. II.

"I am disgrac'd, impeach'd, and baffled here." STEEVENS.

386. -but do you remember, madam,-] 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, &c.

TYRWHITT.

400. When that I was and a little tiny boy,] Here again we have an old song, scarcely worth correction. 'Gainst knaves and thicves must evidently be, against knave and thief. When I was a boy, my folly and mischievous actions were little regarded: but when I came to manhood, men shut their gates against me, as a knave and a thief.

Sir Tho. Hanmer rightly reduces the subsequent

words