Something like this we find in Macbeth: "Thou canst not say I did it." ACT IV. SCENE I. 318. "Walter." To reconcile the terror which this name excites in Suffolk, with the caution he had received from the spirit, in the first act, we must suppose that the in Walter was not usually sounded; and, indeed, in the quarto, the letter is omitted in the name, which is printed Water. SCENE II. 324. "We John Cade," &c. Mr. Malone remarks rightly on Mr. Tyrwhitt's proposed transposition, to justify which, we must change the word "of" to "for." SCENE VIII. 355. "That you should leave me at the White Hart in Southwark." I suspect that a conceit was here intended, referring at once to the sign of the inn, and to cowardice with a white heart. SCENE IX. 361. "For yet," &c. Perhaps we should read: Or yet," &c. SCENE X. 367. "And hang thee o'er my tomb," &c. ແ Hang," perhaps, was meant imperatively or optatively, and addressed to the sword; in which case we must read "thou:" but I rather think, Mr. Malone is right, and that by "hang thee, we are to understand, "have thee hung. ACT V. SCENE II. 389. "As did Eneas old Anchises bear." This allusion occurs in Julius Cæsar: "As Æneas, our great ancestor, "Did on his shoulders, from the flames of Troy, "The old Anchises bear." 394. " SCENE III. — A gallant in the brow of youth." "The brow of youth" means, I believe, the countenance and complexion of youth, its forehead, openly-advanced front, "its bloom of lustihood." Thus in King Lear: "Let it plant wrinkles in her brow of youth." 396. "We have not got that which we have.' Thus in Cymbeline: "Ye gentle gods, give me but this I have." THIRD PART OF HENRY VI. KING ACT I. SCENE I. 15. “May that ground gape, and swallow me alive.' Otway has a similar imprecation in the Orphan : "Gape, Hell, and swallow me to quick perdition." 19. "Who can be patient in such extremes ?" Patíént a trisyllable. 'Seeing thou hast prov'd so unnatural a father." This line, which appears, as it is set down, very inharmonious, may yet be uttered without harsh ness: "Seeing thou hast prōv'd so unnátural a fáthěr." SCENE II. 31. Many a battle have I won in France, "When as the enemy hath been ten to one." Whenas is one word, and means at which time. Vide Note, Measure for Measure, Act 3, Scene 2, p. 98. might perhaps warrant the substitution of the epithet" destroying" for "devouring," in that beautiful sonnet of our poet's, beginning with"Devouring time, blunt thou the lion's claws, "And let the earth devour her own sweet brood." 41. " SCEVE IV. Shook hands with death.” To shake hands is equivocal: it is at one time a token of separation, and at another, as here, a signal of meeting. 43. "How could'st thou drain the life-blood of the child, "And yet be seen to bear a woman's face?" This thought occurs in Titus Andronicus, and may favour the arguments advanced to shew that these plays were not originally the production of Shakspeare, but probably were written by the author of that tragedy: "O Tamora! thou bear'st a woman's face." See Note, p. 370. ACT II. SCENE I. 47. "I cannot joy, until I be resolv'd come." Become, in this locomotive sense, is used again in the fourth act: But, madam, where is Warwick then become?" 48. 66 Methinks, 'tis prize enough to be his son. Pride," as in the old quarto, is, I believe, the right word, which derives support from a similar expression in As You Like It, where Orlando exclaims "I am more proud to be Sir Rowland's son," &c. 52. "Is kindling coals, that fire all my breast.” "Fire" being here, as in many other places, a dissyllable, should be so marked, according to the ancient orthography, "fier." SCENE V. 81. "How many make the hour full complete." In this speech the word hour occurs seven times, and always as a dissyllable; but it ought so to be printed, houer, according to the old orthography. ACT III. SCENE I. 104. "Look, as I blow this feather from my |