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" of Media sent him a very considerable rein“ forcement." To omit Adullas, for Adallas, who is the king of Pont, but Polemo ? and who of Lycaonia, but Amintas ? First then the king of Pont is to be stricken off the list. And I make no doubt but in the original writing it was so : and what the poet blotted out, the printer gave us, because he saw it filled up the verse :

King Malchus of Arabia.” Having gotten rid of the king of Pont : how Shall we reconcile to Plutarch?

" Polemon and Amintas,
“ The king of Mede, and Lycaonia.”

This may be done by an easy transposition of the words,

“ Polemon, and Amintas si Of Lycaonia ; and the king of Mede."

In Antony and Cleopatra, Ac IV.

66 Caesar. My messenger, “ He' hath whipt with rods, dares me to personal

co combat, “Caesar to Antony. Let the old ruffian know, " I have many other ways to die : mean time Laugh at his challenge."

What

What a reply is this to Antony's challenge ? 'tis acknowledging he should fall under the unequal combat. But if we read,

« Let the old ruffian know, “He' hath many other ways to die: mean time " I laugh at bis challenge."

By this reading we have poinancy, and the very repartee of Caesar. Let us hear Plutarch. “ Af

ter this Antony sent a challenge to Caesar to « fight him hand to hand, and received for an

swer, That he (viz. Antony) might find séveral other ways to end HIS LIFE.

To these may be added several other corrections of faulty passages, which seem to have proceeded from the same cause.

In the Tempeft, Act I.

“ Alon. Good boatswain, have care : where's 6 the master ? Play the men.

the men.

It should be ply the men : keep them to their business. Ply your oars, is a seaman's phrase: and Alonso speaking to the Boatswain bids him py

In other places the phrase, play the men, may be very pertinently used; as in the first part of Henry VI. Act I. “ When they shall hear how we have play'd 66 the men."

And

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And in Coriolanus, Act III.

“ Rather say, I play the man I am.” So in Scripture. 2 Sam. X, 12. “ Be of good

courage and let us play the men for our peo

ple.” The pertinency of the phrase in such like passages occasioned the blundering transcriber to place it here. There seems to me to be an error a little before :

" Boatswain. Hey, my hearts ; cheerly, my “ hearts ; yare, yare ; take in the top-fail ; • tend to th' master's whistle ; blow till thou burst thy wind, if room enough." To what, or whom, does the Boatswain speak ? He turns from the Mariners, and in a kind of braving thus apostrophizes the Wind, Blow, till thou burst, thou Wind! if room

enough." How small is the alteration, but what an energy is given to the action by this reading? Again in the same play, Act II.

Trinculo. Yond same black cloud, yond “ huge one, looks like a foul bumbard, that " would shed his liquor." 'Tis not owing to the foulness, but the fulness of this large drinking vessel, (here called

a bumbard,

a

* bumbard, that must cause it to shed its liquor. 'Tis plain therefore that the propriety of the passage requires us to read, a full bumbard. In a Midsummer Night's-Dream, Act IV. Queen. Sleep thou, and I will wind thee

« in my arms. “ Fairies, begone, and be always away.Read, “Fairies begone and be away.--Away."

[Seeing them loiter.

The fairies being gone, the queen turns to her
new lover,
“ So doth the 10 woodbine the sweet honey-fuckle

Gently entwist; the female Ivy so
Enrings the barky fingers of the elm.”

8 à Lat. bombarda, from the sound : and drinking vessels were hence called Bou Curidi, à sono bilbiente. See Hesychius. 9 Mr. Theobald thinks the poet meant

and be all ways away. i. e. disperse yourselves, and scout out severally, in your watch. 10 Mr. Theobald has printed it, “ So doth the woodbine, the sweet honeysuckle,

Gently entwist the maple ; Ivy so, &c." This is too great a variation from the received reading : and how jejune is it to tell us, that the woodbine and the honey-suckle is the same thing?

Read,

Read, wood rine, i.e. the honey-suckle entwists the rind or bark of the trees : “ So doth the wood rine the sweet honey-fuckle, “ Gently entwist."

In Shakespeare's time this was the manner of spelling; so Spencer in the Shepherd's Calendar, eclog. 2.

as But now the gray moss marred his rine."

In King John, AC IV.

66 Arth. Is there no remedy?
Hub. None but to lose your eyes.
66 Arth. Ô Heav'n, that there were but a

" Moth in yours,
A grain, a dust, a gnat, &c.”

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vii, 4.

Undoubtedly the true reading is, a more. Matt.

Why beholdest thou the more that is “ in thy brother's eye, &c.” Horatio in Hamlet, Act I.

“ A MOTE it is to trouble the mind's eye.A mote, xéppos. The Anglo-S. version of St. Matthew's gospel uses this very word, mot:. meaning what we call chaff, or sport straw, and so 'tis now used in the West of England; but

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