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P. 375. (40) Let Love, being light, be drowned if she sink !"
Malone has remarked that here, as in some other places, Shakespeare uses
Love for the Queen of love.—Compare Marlowe's Ovid's Elegies;

Love and Love's son are with fierce arms at odds.”
(“Nec Venus apta,” &c )

Works, iii. 130, ed. Dyce.

P. 375. (4)

Gaze where you,” &c. The folio has “Gaze when you,” &c.

P. 376. (12)

"for I aim thee.Capell’s correction. The folio has “ I am thee."

P. 377. (43)

" for why she sweats," &c. The folio has “ for why? she sweats,&c.; and the interrogation-point is retained in the modern editions,—very erroneously, since for why is equivalent to because, for this reason that.Compare our author elsewhere;

"For why the fools are mad, if left alone.”

The Two Gent. of Verona, p. 114 of the present vol. “ For why the senseless brands will sympathize The heavy accent of thy moving tongue,” &c.

Richard II. act v. sc. 1. (where the folio has an interrogation-point after “why”).-Also the following passages;

“But let me see; what time a day is't now?
It cannot be imagin'd by the sunne,
For why I haue not seene it shine to daie,” &c.

A Warning for Faire Women, 1599, sig. E 4.
“ Thomas kneele downe; and, if thou art resolu’d,
I will absolue thee here from all thy sinnes,
For why the deed is meritorious.”

The Troublesome Raigne of King John (Part Sec.),

sig. I 2, ed. 1622.

P. 377. (44) but her name and three quarters," &c. The folio has “but her name is three quarters,&c.

P. 377. (45) “armed and reverted, making war against her hair.In this quibbling passage, the spelling of the second folio,“ hair,is evidently required.—The first folio has “heire.”

P. 379. (46) and her confederates," &c. The folio has “and their confederates," &c.

P. 380. (47)

send me by some token.” Mr. Collier's Ms. Corrector gives "send by me some token;" which change, as Mr. Collier says,

seems scarcely required:” and see Malone's note ad l.

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P. 381. (4)

And then, sir, she bears away." Altered in the second folio to “ Then sir she beares away."

P. 382. (49) You sent me for a rope's end as soon,” &c. Steevens (who compares the language of Dromio a little before,-and who might have compared the next line of the present speech) printed “ You sent me, sir, for a rope's end as soon ;" and so probably Shakespeare wrote. (Malone prints“ - a ropes end as soon,”—asserting that “ropes” is here the Saxon genitive case !)

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P. 382. (50)

Of his heart's," &c. The folio has “Oh, his hearts,” &c.—Corrected in the second folio.

P. 384. (51)

That he," &c. The folio has “ Thus he,&c.—Corrected in the second folio.

P. 384. (52)

If Time be in debt," &c. The folio has If I be in debt,&c.-Malone reads “ If he be in debt," &c.But I much prefer Rowe's correction, “ Time." In the Ms. used for the folio, the word (because it had occurred so often just before) was probably written here contractedly, T, which the compositor might easily mistake for “I”.

P. 385. (53)

"What, have you got the picture of old Adam new-apparelled ?" Theobald printed “What, have you got rid of the picture,&c.—Mr. Singer (Shakespeare, 1826) thus explains the original text: “ The sergeant is designated by the picture of old Adam' because he wore buff, as Adam wore his native buff; and Dromio asks Antipholus if he had got him new-apparelled, i.e. got him a new suit, in other words, got rid of him.”

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P. 385. (**)

a fob,&c. This is the usual modern reading. The folio has “a sob,” &c.—Hanmer

printed “a bob,” &c.-Mr. Halliwell, in his Dict. of Arch. and Prov. Words, gives “ Sob-To sop, or suck up. Suffolk ;” and adds, “ Perhaps sob in the old copies of The Comedy of Errors means sop.”—It may be that the former is a misprint for the latter.

P. 386. (55) " that's as much as to say,&c. The folio has thats as much to say," &c. But in this formula Shakespeare I believe, never omits the second “as,” though he sometimes places it before, sometimes after the verb: compare Two Gent. of Ver. act iii. sc. 1; Much ado about Nothing, act ii. sc. 3, act iii. sc. 2; Twelfth-Night, act i. sc. 5; Sec. Part of Henry VI. act v. sc. 2; and Romeo and Juliet, act ii. sc. 4.

P. 386. (56)

Master, if you do, expect spoon-meat; so bespeak a long spoon.The folio has “ Master, if do expect spoon-meate, or bespeake a long spoone.The editor of the second folio made no alteration except in adding “you.

P. 386. (57)

Avoid thee. fiend!The folio has “ Auoid then fiend;" which was altered in the fourth folio to “ Avoid thou fiend."

P. 387. (58)

"and the Officer." The folio has “with a Jailer" (but prefixes Offi.and “Offto his speeches in the scene).—Mr. Collier prints " and a Jailor,” observing that “This is the old stage-direction ; 'and as Adriana and Antipholus subsequently call him so, there is reason for retaining it, instead of an Officer,' as it stands in the modern editions." But Mr. Collier does not perceive into what inconsistency he runs by printing here "a Jailor ;" for in the first scene of this act he gives “Enter a Merchant, Angelo, and an Officer;" and that the Officer who arrests Antipholus in that scene is the very person who now enters with him, is proved by the speech of Antipholus to the Duke, p 368, “My liege, I am advised what I say,” &c.

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P. 388. (50)

or rather, to prophesy like the parrot, · Beware the rope's end?The folio has “or rather the prophesie like,&c.

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P. 389. (61)

master," &c. Qy.“mistress,” &c. ?—the compositor having been misled by the abbreviation of the word in the Ms. (A little after, the folio has “And gentle M I receiu'd no gold.")

P. 390. (62)

But with these nails I'll pluck out these false eyes," &e. Has been altered to “. I'll pluck out those false eyes,” &c.,--and rightly perhaps: yet it is certain that our early authors sometimes use " these" where now-a-days we should write “ those.”

P. 391. (63) “Enter ANTIPHOLUS of Syracuse and DROMIO of Syracuse with their

rapiers drawn.” The folio has “ Enter Antipholus Syracusia with his Rapier drawne, and Dromio Sirac.” But compare what follows, “ And come with naked swords;" and Adriana's speech, p. 396,

“ And with his mad attendant and himself,
Each one with ireful passion, with drawn swords," &c.

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P. 391. (64)

" you see they," &c. The folio has "you saw they,&c. (In old Ms. and books “see" and are frequently confounded :—the folio, in Cymbeline, act v. sc. 5, has “But we see him dead,”—where the sense positively requires “saw.")

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P. 392. (65) These ears of mine, thou know'st, did hear thee." In this line “hear” is (as it often is) a dissyllable ;—which I notice because the recent editors, by altering the “knowst" of the folio to “knowest," render the line unmetrical.

P. 393. (6)

And much different,&c. The second folio has “And much much different," &c.

P. 394. (67) But moody and dull melancholy,

Kinsman to grim and comfortless despair;
And at her heels a huge infectious troop

Of pale distemperatures and foes to life?" Even allowing that here we have no confusion of genders in “ Kinsmar" and her heels," since “ Kinsman" may be equivalent to "akin,"– I nevertheless feel confident that something has dropt out from the first of these lines.

P. 395. (68) The place of death,&c. The folio has “ The place of depth,” &c.—That “depth” was a misprint for death,I did not require the authority of Mr. Collier's Ms. Corrector to convince me; but I am glad he has pronounced it to be so, because the probability of future editors retaining it is thereby considerably lessened. (Even Mr. Collier, who gavedeathin his text, was afterwards troubled with great doubts whether he had done rightly: see the Additional Notes” to his Shakespeare, i. cclxxxv.). - According to Mr. Hunter, “ The place of depth' means, in the Greek story, the Barathrum, the deep pit, into which offenders were cast. So Jonson,

Opinion ! [O God] let gross opinion sink (and be damn'd]
As deep as Barathrum.'

Every Man in his Humour, ed. 1601.” New Illustr. of Shakespeare, i. 225. But Ægeon was not about to be "cast into a deep pit :”—he was to be “Beheaded publicly for his offence.” Nor do I see the appositeness of Mr. Hunter's quotation from Jonson. In it “ Barathrumundoubtedly means hell. Compare Dekker's Knights Conjuring, 1607; “Inraged at which, he flung away, and leapt into Barathrum.” Sig. c. 3. And Taylor's Bawd;

“Cocitus Monarch, high and mighty Dis,

Who of Great Limbo Lake Commander is,
Of Tartary, of Erebus, and all
Those Kingdomes which men Barathrum doe call.

P. 92 (second),—Workes, ed. 1631.

P. 397. (*)

To scotch your face,” &c. The folio has “ To scorch your face,” &c.—Warburton saw that “scotch” was the true reading here: but his obvious emendation has been treated with contempt by his successors. “ Scorch,' says Steevens, “ I believe, is right. He would have punished her as he had punished the conjurer before;"—which must have been by singing off her beard !—The folio has the very same misprint in Macbeth, act iii. sc. 2;

“We haue scorch'd (read “scotch’d”] the snake, not kill'd it.” So, too, have all the old editions of Beaumont and Fletcher's Knight of the Burning Pestle, act iii. sc. 4; “Re-enter GEORGE, leading a Second Man with a patch over his nose.

George. Puissant knight, of the Burning Pestle hight,
See here another wretch, whom this foul beast
Hath scorcht [read “scotch'd”) and scord in this inhuman wise."

P. 399. (70)

I never saw the chain. So help me heaven
As this is false you burden me withal!"

The folio has,

I neuer saw the Chaine, so helpe me heauen :
And this is false you burthen me withall,

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