travel. "Cæfar through Syria intends his journey' Antony & Cleopatra, A& v. sc. I, 1. 200. 10. Thy. The Quarto reads XXVI. 12. their. See 11, 12. Compare Romeo & Juliet, A& 1. sc. 5, 11. 47, 48: It Seems fhe hangs upon the cheek of night 13, 14. By day my limbs find no quiet, for myfelf, i.e. on account of business of my own; by night my mind finds no quiet for thee, i.e. thinking of you. XXVIII. A continuation of Sonnet XXVII. 9. Cambridge edd. and Furness read I tell the day, to please him thou art bright'. 12. Twire, peep. Compare Ben Jonfon, Sad Shepherd, А& 1. fc. I :— Which maids will twire at, tween their fingers, thus. Marston: Antonio & Mellida, A& iv. (Works, vol. i. p. 52, ed. Halliwell), 'I fawe a thing stirre under a hedge, and I peep't, and I spyed a thing, and I peer'd and I tweerd underneath'. Malone conjectured 'twirl not'; Steevens, 'twirk not'; Maffey, 'tire not', in the sense of attire. 12. Gild'. The Quarto reads 'guil'ft'. 13, 14. Dyce and others read 'And night doth nightly make grief's ftrength feem ftronger', which poffibly is right. The meaning of the Quarto text must be: Each day's journey draws out my forrows to a greater length; but this process of drawing-out does not weaken my forrows, for my night-thoughts come to make my forrows as ftrong as before, nay ftronger. C. [Capell] fuggefted to Malone draw my forrows stronger . . . length seem longer'. XXIX. These are the night-thoughts referred to in the last line of xxvIII.; hence a special appropriateness in the image of the lark rifing at break of day. 8. With what I most enjoy contented leaft. The preceding line makes it not improbable that Shakfpere is here speaking of his own poems. 12. Sings hymns at heaven's gate. Cymbeline, А& п. fc. 3, ll. 21, 22:— Compare Hark, hark! the lark at heaven's gate fings, Lyly: Campaspe, A& v. sc. 1 :— How at heaven's gates fhe [the lark] claps her wings, The morne not waking till shee fings. XXX. Sonnet XXIX. was occupied with thoughts of present wants and troubles; xxx. tells of thoughts of past griefs and losses. 1, 2. Compare Othello, A& ш. sc. 3, ll. 138-141, ' apprehenfions . . . in feffion fit'. 6. Dateless, endless, as in Sonnet CLII., lefs, lively heat, ftill to endure'. 6 a date 8. Moan the expense. Schmidt explains expense as lofs, but does not 'moan the expenfe' mean pay my account of moans for? The words are explained by what follows :— Tell o'er The fad account of fore-bemoaned moan Malone has a long note idly attempting to show that fight is used for figh. 10. Tell o'er, count over. XXXI. Continues the subject of xxx.-Shakspere's friend compenfates all loffes in the past. 5. Obfequious, funereal, as in Hamlet, A&t 1. fc. 2, 1. 92, 'To do obfequious forrow'. 6. Dear religious love. In A Lover's Complaint, the beautiful youth pleads to his love that all earlier hearts which had paid homage to him now yield themselves through him to her service (a thought fimilar to that of this fonnet); one of these fair admirers was a nun, a fifter fanctified, but (1. 250): Religious love put out Religion's eye. 8. In thee lie. The Quarto reads 'in there lie'. 10. Hung with the trophies of my lovers gone. Compare from the fame paffage of A Lover's Complaint (1. 218): Lo, all these trophies of affections hot ... muft your oblations be. XXXII. From the thought of dead friends of whom he is the furvivor, Shakspere paffes to the thought of his own death, and his friend as the furvivor. This fonnet reads like an Envoy. 4. Lover, commonly used by Elizabethan writers generally for one who loves another, without reference to the special paffion of love between man and woman. In Coriolanus, A& v. fc. 2, 1. 13, Menenius fays: I tell thee, fellow, Thy general is my lover. 'Ben Jonson concludes one of his letters to Dr. Donne, by telling him that he is his ever true lover"; and Drayton, in a letter to Mr. Drummond of Hawthornden, informs him that Mr. Joseph Davies is in love with him'.-MALONE. 5, 6. May we infer from these lines (and r0) that Shakspere had a sense of the wonderful progress of poetry in the time of Elizabeth? 7. Reserve, preferve; fo Pericles, A& iv. fc. I, 1. 40, 'Referve that excellent complexion'. XXXIII. A new group feems to begin with this fonnet. It introduces the wrongs done to Shakspere by his friend. 4. Compare King John, A& ш. sc. 1, 11. 77-80:— The glorious fun Stays in his course and plays the alchemist, etc. 6. Rack, a mass of vapoury clouds. 'The winds in the upper region, which move the clouds above (which we call the rack),' Bacon, Sylva Sylvarum, S 115, p. 32, ed. 1658 (quoted by Dyce, Glossary under rack). Compare with 5, 6, 1 King Henry IV., A& 1. sc. 2, ll. 221-227: - Herein will I imitate the fun, Who doth permit the base contagious clouds 12. The region cloud, compare Hamlet, A& 1. fc. 2, 1. 606, the region kites'. Region 'originally a division of the sky marked out by the Roman augurs. In later times the atmosphere was divided into three regions, upper, middle, and lower. By Shakespeare the word is used to denote the air generally'.-Clarendon Prefs Hamlet. 14. Stain, ufed in the tranfitive and intranfitive fenfes for dim. Watson, Tears of Fancie, Sonnet LV., says of the fun and the moon his beauty flains her brightness'. Faithleffness in friendship is spoken of in the fame way as a stain in Sonnet CIX. II, 12. XXXIV. Carries on the idea and metaphor of xxxIII. 4. Rotten Smoke; we find smoke meaning vapour in 1 King Henry vг., A& II. fc. 2, 1. 27: compare Coriolanus, A& m. fc. 3, 1. 121, 'reek o' the rotten fens'. 12. Cross, the Quarto reads losse. The fortyfecond fonnet confirms the emendation, and explains what this cross and this lofs were :— Lofing her [his mistress], my friend hath found that |