Duke, who was at the wrestling: "that," consequently, must belong to "the two," and, of course, requires the plural verb "were."

32.

Hereafter, in a better world than this.”

"Which teacheth thee that thou and I am one."

"Am" should have been corrected to "are" The sense is well explained by Dr.

in the text.

Johnson.

40.

"Which, when it bites and blows upon my body,

"Even till I shrink with cold, I smile and say," &c.

Here is a nominative noun without operation, "which"-well! I smile and say, &c. I fear it is an incorrigible defect: the impetuosity of passion will sometimes justify a change in the structure of a sentence, as in Hotspur's speech

For all those wounds, "Those mouthed wounds which gallantly he bore," &c.

Where the impatience of the speaker makes him break off from the argument he began with; but such abruption cannot be defended in a calm, unimpassioned speech like this.

42. "I would not change it."

I wonder that Mr. Upton's regulation, in giving these words to the Duke has not been adopted: they are clearly a part of the preceding speech.

45. "Kill them up."

This is a strange phrase, which, however, we have a match for in modern language, kill them off.

55. "Two cods."

SCENE IV.

All the notes here about cods and pease-cods might well be spared: the meaning is not worth the search.

SCENE V.

60. "A verse-that I made yesterday in despite of my invention."

Jaques forced himself to rhyme, and troubled his imagination to gratify his spleen.

SCENE VII.

63. "Here was he merry, hearing of a song."

The obtrusion of the genitive particle between the participle and the accusative noun is ungram

matical, and often dangerous to the sense, as here, Jaques was hearing of a song, i. e. or should be, was listening to some story about a song. might read, preserving the measure—

We

"Here was he merry, listening to a song;" or, with less departure from the text, heark'ning

to a song.

65. "He hath strange places cramm'd with observation," &c.

This is whimsically, but not carelessly expressed his wit is of so strange a kind, that it seems to be extracted from the most obscure recesses of the intellect.

67.

A libertine,

"As sensual as the brutish sting itself."

I believe nothing more is meant by brutish sting, than the impulse or irritation of lust.

68. "Why who cries out on pride," &c.

This speech has been made use of by Massinger, in The Roman Actor.

'Till that the very very means do ebb."

The reading of the old copy, weary very means," seems preferable to the dull, ineffectual repetition of very; but we might transpose, very, weary means.

76. "Because thou art not seen."

Because thou displayest no visible form whereby we can recognize the pernicious object which repays benefits with unkindness.

As friend remember'd not.”

i. e. As the condition of a friend remembered not. Mr. Malone says it ought to be as friendship not remembering, which, indeed, would be no friendship at all. The passage quoted from the third act is not, I think, in point: I am remembered," is, clearly, now I am put-in

mind or remembrance.

now

"Sheath'd their swords for lack of argument."

This use of the active instead of the passive adjective, has been adopted by Milton, in more than one instance:

"And hears the unexpressive nuptial song."

99. Speak sad brow and true maid."

I

Lycidas.

suppose there was something proverbial in this. Benedick says to Claudio

102.

Speak you this with a sad brow ?"

"I had as lief have been myself alone."

Have been occupied and engrossed by my own thoughts.

111. "Clean as a sound sheep's heart; so that there shall not be one spot of love

in it."

Why is a sheep, or a sound sheep, peculiarly exempt from love?-Is it that the mutilation which destroys the sexual appetite, prepares the sheep at the same time to become better mutton, or what may be here emphatically sound mutton? Mr. Steevens says, it is an allusion to the practice of washing sheep's hearts; but do not calves' hearts, bullocks' hearts, &c. undergo similar ablution?

115.

SCENE III.

No, truly, unless thou wert hard-favoured; for honesty coupled to beauty, is to have honey a sauce to sugar."

As honey and sugar would mutually confound the quality of each other, so would your beauty betray your honesty, and your honesty your beauty. This sentiment, a little varied, occurs in Hamlet:

"You should admit your honesty to no discourse with your beauty.'

Ophelia. "Why, my Lord, can beauty have better commerce than with honesty?"

Hamlet. " Ay marry; for the

power of beauty will sooner transform honesty, from what it is, to a bawd, than the force of beauty," &c.