the Sir Hugh Evans of Shakspeare is not a Welsh knight VOL. III. who hath taken orders, but only a Welsh clergyman with As YOU out any regular degree from either of the Universities. See LIKE IT. Barrington's History of the Guedir Family. NICHOLS. 349. Dead fhepherd, now I find thy faw of might :Who ever lov'd, that lov'd not at first fight?] The fecond of thefe lines is from Marlowe's Hero and Leander, 1637, fig. B b. where it ftands thus: "Where both deliberate, the love is flight: "Who ever lov'd, that lov'd not at first fight?" This line is likewife quoted in Belvidere, or the Garden of the Muses, 1610, p. 29. and in England's Parnaffus, printed in 1600, p. 261. STEEVENS. 354. After Johnfon's note.] Mr. Edwards propofes the fame emendation, and fupports it by a paffage in Hamlet: "The coroner hath fat on her, and finds it--Christian burial.” MALONE. 371. never any thing fo fudden, but the fight of two rams.] So, in Laneham's Account of Queen Elizabeth's Entertainment at Kennelworth Caflle, 1575: ootrageous in their racez az rams at their rut.' STEEVENS. E. NG OF TAMING OF THE SHREW. 402. To follow Steevens's fecond note.] Perhaps the T.OF THE fentence is left imperfect, because he did not know by what SHREW. name to call him. E. 405. Note.] Sincklo or Sinkler was certainly an actor in the fame company with Shakspeare &c.-He is introduced together with Burbage, Condell, Lowin &c. in the Induction to Marfton's Malcontent, 1604, and was also a performer in the entertainment entitled The Seven Deadlie Sinns. See P. 6o. Inftead of Sinckle, Player fhould be prefixed to this line. K 2 MALONE. 408. A SHREW. VOL. III. 408. A room in the lord's houfe-Enter Sly &c.] From the T. OF THE Original stage-direction in the firft folio it appears that Sly and all the perfons mentioned in the Induction, were intended to be exhibited in a balcony above the stage. The direction here is: "Enter aloft the drunkard with attendants, &c." So afterwards at the end of this fcene-" The PreJenters above speak." MALONE. 412. After Steevens's note.] For old John Naps of Greece read, old John Naps o' th' Green. -E. In The London Chanticleers, a comedy, 1659, a ballad entitled "George o' the Green" is mentioned. The addition feems to have been a common one. MALONE. 415. After Steevens's note.] In the old play (fee p. 403. the players themselves ufe the word commodity corruptly for a comedy. E. 417. After Steevens's note .] Tranio is here defcanting on academical learning, and mentions by name fix of the feven liberal fciences. I fufpect this to be a mif-print, made by fome copyift or compofitor, for ethicks. The fenfe confirms it. -E. 430. -as many difeafes as two and fifty borfes.] I suspect this paffage to be corrupt, though I know not well how to rectify it-The fifty difeajes of a horfe feem to have been proverbial. So, in The Yorkshire Tragedy, 1608: "O ftumbling jade! the spavin o'ertake thee! the fifty difeafes stop thee!" MALONE. Ibid. he'll rail in his rope-tricks.] Rope-tricks is cer tainly right. Ropery or rope-tricks originally fignified abusive language, without any determinate idea; fuch language as parrots are taught to fpeak. So, in Hudibras: "" Could tell what fubt'left parrots mean, "That speak, and think contrary clean; "What member 'tis of whom they talk, "When they cry rope, and walk knave, walk." The following paffage in Wilfon's Arte of Rhetorique, 1553, fhews that this was the meaning of the term: 66 Another good fellow in the countrey, being an officer and maiour of a toune, and defirous to speak like a fine learned man, having juft occafion to rebuke a runnegate fellow, faid after this wife in a great heate: Thou yngram and vacation knave, if I take thee any more within the circumcifion of my dampnacion, I will fo corrupte thee that all vacation knaves fhall take ill fample by thee." This the author in the margin calls "rope ripe chiding." So, in May-day, a comedy by Chapman, VOL. III. 1611: Lord! how you roll in your rope-ripe terms." MALONE. 436. After Steevens's note.] It is given in the first folio to Biondello. MALONE. 450. from a wild Kate to a Kate.] To follow Steevens's note.-The fecond folio reads: -from a wild Kat to a Kate. which is, I think, fufficient authority for the reading adopted by the modern editors. MALONE. 460. That we might beguile the old Pantaloon.] By the old "We'll over-reach the grey-beard Gremio." 476. fire, fire; caft on no water.] There is an old popular catch of three parts, in these words: "Scotland burneth, Scotland burneth. "Caft on fome more water." -E. 494. I fear it is too phlegmatick a meat-] The first folio -too cholerick a meat -The reading of the text reads: 511. That every thing I look on feemeth green.] Shakspeare's obfervations on the phænomena of nature are very accurate. When one has fat long in the funfhine, the furrounding objects will often appear tinged with green. The reafon is affigned by many of the writers on optics. -E. T. OF THE SHREW. VOLUME IV. VOL. IV. ALL'S WELL &C. ALL's WELL THAT ENDS WELL, Page 4. O, that had! how fad a paffage 'tis !] Imitated from the Heautontimorumenos of Terence (then tranflated) where Menedemus fays: "Filium unicum adolefcentulum "Nunc habeam necne incertum eft." -E. 9. To follow Steevens's note 7.] Mr. Steevens's explanation of this word is fupported by a paffage in Ben Jonfon's Every Man out of his Humour, 1600: "O I have it in writing here of purpose; it coft me two fhillings the tricking.” MALONE. 14. -a traitress-] To follow Steevens's note.. "At thy affections, which do hold a wing MALONE. 17. The mightiest Space &c.] I understand the meaning to be this-The affections given us by Nature, often unite perfons between whom Fortune or accident has placed the greatest distance or difparity; and caufe them to join, like likes, (inftar parium) like perfons in the fame fituation or rank of life. If the author had written fpaces, the paffage would have been more clear; but he was confined by the metre. The mightiest space in fortune, for perfons the meft widely feparated by Fortune, is certainly a licentious expreffion; but it is 'fuch a licence as Shakspeare often takes. He might, perhaps, have written: The The mightieft fpace in nature, Fortune brings VOL. IV. ALL'S Accident fometimes unites thofe whom inequality of rank has WELL &C. feparated. MALONE. 19, 20. To follow Johnfon's note, p. 19.] Point thus: He had the wit, which I can well obferve To-day in our young lords: but they may jeft, So like a courtier. Contempt &c. E. 22. To follow Tyrwhitt's note] The reading of the old copy is fupported by a fimilar paffage in Cymbeline: "fome jay of Italy "Whose mother was her painting— Again, by another in the fame play: "No, nor thy taylor, rafcal, "Who is thy grandfather; he made those cloaths, Here the garment is faid to be the father of the man :-in the 23. To follow Johnfon's note.] Cardinal Wolfey, after his difgrace, wishing to fhew king Henry a mark of his refpect, fent him his fool Patch, as a prefent, whom, says Stowe, the king received very gladly." MALONE. 25. You are fhallow madam, in great friends.] Mr. Tyrwhitt's regulation of the paffage is, I believe, right; but I would read, with less deviation from the text : You are shallow, madam: ev'n great friends. Ev'n and in are fo near in found, that they might eafily have been confounded by an inattentive hearer. The fame mistake has happened in another place in this play. Act III. fc. i. (folio 1623) "Lad. What have we here? "Clown. In that you have there." So, in Antony and Cleopatra: "No more but in a woman.' Again, in Twelfth Night, Act. I. fc. v. "'Tis with him in ftanding water, between boy and man &c." The modern editors have rightly corrected all these paffages, and read-" Ev'n that you have there"-" No more but ev'n a woman &c." Ev'n was formerly contracted thus, e'n. [See Act IV. of K 4 this |