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Live here in heaven, and may look on her,
do this, when I from this must fly:
3 Validity is again employed to signify worth, value, in the first scene of King Lear.
By courtship, courtesy, courily behaviour is meant. See vol. ij. p. 136, note 32. As this is one of the words which have escaped the industry of Shakspeare's editors, it may be as well to elucidate its meaning fully. Bullokar defines compliment to be ceremony, court-ship, fine behaviour.' See also Cotgrave in Curtisanie and Curialité; and Florio in Cortegianía. • Would I might never excell a Dutch skipper in courtship, if I did not put distate into my carriage of purpose, I knew I should not please them.'— Sir Giles Goosecap, a Comedy. Again, in the same play:-My lord, my want of courtship makes me fear I should be rude.'
• Whilst the young lord of Telamon, her husband,
Ford's Fancies Chaste and Noble. See also Gifford's Massinger, vol. ii. p. 505, where the true meaning of the word has not escaped the acute and able editor. VOL. X.
Fri. Thou fond mad man, hear me but speak a
word. Rom. O, thou wilt speak again of banishment.
Fri. I'll give thee armour to keep off that word;
Rom. Yet banished ?-Hang up philosophy!
Fri. O, then I see that madmen have no ears.
no eyes ? Fri. Let me dispute with thee of thy estate 5. Rom. Thou canst not speak of what thou dost not
Wert thou as young as I, Juliet thy love,
And fall upon the ground, as I do now,
* Virtue is always thrall to troubles and annoy,
But wisdom in adversity finds cause of quiet joy.' See also Lyly's Euphues, 1580:- Thou sayest banishment is bitter to the freeborne. There be many meates which are sowre in the mouth and sharp in the maw; but if thou mingle them with sweet sawces, they yeeld both a pleasant taste and wholesome nourishment.--I speake this to this end, that though thy exile seem grievous to thee, yet guiding thyself with the rules of philosophy it shall be more tolerable.'
5 The same phrase, and with the same meaning, occurs in The Winter's Tale :
can he speak ? hear? Know man from man? dispute his own eslate? i. e. is he able to talk over his own affairs, or the present state he is in ?
Fri. Arise; one knocks; good Romeo, hide thyself.
[Knocking within. Rom. Not I; unless the breath of heart-sick groans, Mistlike, infold me from the search of eyes.
[Knocking. Fri. Hark, how they knock!—Who's there?
Romeo, arise ;
[Knocking. Run to my study :-By and by :—God's will! What wilfulness is this?—I come,
[Knocking. Who knocks so hard ? whence come you? what's
your will ?
Nurse. [Within.] Let me come in, and
know my errand; I come from Lady Juliet. Fri.
O woful sympathy!
Even so lies she,
stand up; stand, an you be a man: For Juliet's sake, for her sake, rise and stand; Why should
fall into so deep an 0? Rom. Nurse! Nurse. Ahʼsir! ah sir !-Well, death's the end
Rom. Spak’st thou of Juliet ? how is it with her ?
As if that name,
me, In what vile part of this anatomy Doth my name lodge ? tell me, that I may
sack The hateful mansion. [Drawing his Sword. Fri.
Hold thy desperate hand :
6 The epithet concealed is to be understood, not of the person, but of the condition of the lady ; so that the sense is, 'My lady, whose being so, together with our marriage which made her so, is concealed from the world.'
7 Sbakspeare has here followed the poem :· Art thou, quoth he, a-man? thy shape saith, so thou art, Thy crying and thy weeping eyes denote a woman's heart, For manly reason is quite from off thy mind outchased, And in her stead affections lewd, and fancies highly placed; So that I stood in doubt, this hour at the least, If thou a man or woman wert, or else a brutish beast.'
And slay thy lady too that lives in thee,
8 Romeo has not here railed on his birth, &c. though in his interview with the Friar, as described in the poem, be is made to do so. Sbakspeare copied the remonstrance of the Friar, without reviewing the former part of this scene. He has in other places fallen into a similar inaccuracy, by sometimes following and sometimes deserting his original. The lines from Why railst thou on thy birth, &c. to thy own defence, are not in the first copy, they are formed on a passage in the poem. 9 So in King Richard II. Act v. Sc. 3:
. And thy abundant goodness shall excuse
This deadly blot in thy digressing son.' And in Barnabe Riche's Farewell: – Knowing that you should otherwise have used me than you have, you should have digressed and swarved from your kind.'
10 To understand the force of this allusion, it should be remembered that the ancient English soldiers, using match locks, instead of locks with flints, as at present, were obliged to carry a lighted match hanging at their belts, very near to the wooden flask in which they carried their powder. The same allusion occurs in Humor's Ordinary, an old collection of English Epigrams :
• When she his flask and touch-box set on fire,