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Measure, Act III. In the same senare we have

their beastly + touches. And in Antony and Cleopatra, Act III. The neer-toucb'd vestal. So Horace calls Pallas, L. I. Od. 7. Intacta.

There is another word of not unlike import and signification, In the Winter's Tale, Act I. “ Go play, boy, play : thy mother PLAYS,

“ and I play too." This is used in the same sense as the Latins use LUDERE, and the Greeks Tiásfelv.

Fis anus, et tamen
Vis formosa vider

LUDISQUE et bibis impudens. Hor. IV, 13.
Lusisti fatis, edifti fatis, atque bibisti.

L. 2. 2. 214

Turba Menandreae fuerat nec Thaidos olim
Tanta, in quâ populus LUSIT Erichtbonius.

Propertius. 4

Our learned comedian in his Silent Woman, A& IV. Sc. I. thus literally translates Ovid. ArtAmator. Lib. I. $4.677.

At que, cum cogi poset, non TACTA recellit,

Ut fimulet vultu gaudia, triftis erit, “ She that might have been forced, and you let her go free " without TOUCHING, tho' then she seem'd to thank

you, si will ever hate you after s and glad i'th' face, is assuredly 6 fad at the heart."

X 2

Milton

Milton likewise has followed this learned meaning, in a passage imitated from Homer [Il. y'. 441. II. E. 514.)

6 Now let us PLAY
" As meet is, after such delicious fare."

IX, 1027

He uses SHADOW, as the Latins use UMBRA, In the second part of K. Henry IV. Act II.

Poius. “ I am your shadow, my Lord, I'll

u follow you.

So Horace, speaking of those who attended Mæcenas as unbidden guests,

Quos Mecenas adduxerat UMBRAS. L. 2. 8. Again, L. 1. Ep. 5.

Locus est et pluribus UMBRIS. 'Tis a pretty allusion of constant attendants, in the sunshine of fortune, and who then cannot easily be shaken off. The same allusion Milton has,

“ Thou, my SHADE Inseparable, inuft with me along.” X, 249. In a Midsummer Night's Dream, Act III. He uses not a word form'd from the Latin, but the Latin word itself. Lyfander speaks to Hernia,

« Get

“ Get you gone, you dwarf, « You Minimus.

“ This is (says Mr. Theobald) no term of art, “ that I can find ; and I can scarce be willing to “ think, that Shakespeare would use the maf“ culine of an adjective to a woman. He was “ not so deficient in grammar. I have not ven66 turd to disturb the text ; but the author, perhaps, might have wrote,

" You, Minim, you. « i. e. You diminutive of the creation, you “ reptile. In this sense, to use a more recent

authority; Milton uses the word in the 7th « book of Paradise Lost.

“ These as a Line their long dimensions drew, « Streaking the ground with sinuous trace; not

66 all

« Minims of nature."

Mr. Theobald, who was no bad scholar, might have remembered that the masculine gender is often used, where the person is considered more than the sex ; as here ʼtis by Shakespeare. Milton's expression seems to be from Prov. XXX. 24. according to the vulgate, Quatuor ifta funt minima terre. Minims are an order of Friars,

Minimi;

X 3

Minimi; so named thro' affected himility. From this adjective Spencer form'd his substantive, MINIMENTS, trifles, toys; res minimi pretii. B. 4. c. 8. st. 6. “ Upon a day as she him sate beside, " By chance he certaine miniments forth drew.” Manim in music is half a semibreve; to which ho alludes, in B. 6. c. 10. st. 28. " Pardon thy shepherd mongst so many lays “ As he hath sung of thee in all his days, " To make one minime of thy poor handmaid."

In Othello, Act III.

« Now by yond Marble Heav'n.”

So in Timon, Act IV.

« The marbled mansion all above."

And Milton, B. III. 564.

“ The pure Marble air." Virgil, Æquor Marmoreum, Aen. VI, 729, which Phaer renders

« The marblefacid feas."

And Douglas,
" Under the Dekit fe of marbil hew."

Homer

Homer led the way, Il. Ę. 275. ára recepte pénu, which the scholiast interprets by deuxúr. The sea, as well as the sky, is called Marble, from its being resplendent, and shining like marble. And 'tis to be remembered that the poets predicate the same things reciprocally both of the sky and waters. In the first

In the first part of K. Henry IV. speaking of the Severn, he says, “ His “ crisped head.” And in the Tempest, Act IV. he has, “ Crisp channels.” Crisp, or crisped, is curled. Lat. Crispus, crispatus. So of the Clouds, in the Tempest, Act I.

“ All hail, great master ! grave Sir, hail !

66 I come

« To answer thy best pleasure : be't to fly, 66 To swim, to dive into the fire ; to ride 66 On the CURL'D clouds."

And so in Timon, Act IV.

" With all abhorred births below s Crisp heav'n, " Whereon Hyperion's quickning firedoth shine.

5Crisp heav'n.) We should read Cript, i e. vaulted, “ from the Latin Cripta, a vault.” Mr. W.-But that we should read, as the poet red, Crisp, is plain from the above citations. One may ak too where is Cript to be found ? Add to that Cripta is a vault under ground, átà Ti xguar?sw, hence the Italians have formed Grotta, a grotto.

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