"Home-keeping youth have ever homely wits."

Act I., Scene 1.

A similar play upon the word "homely" occurs in Milton's "COMUS:"

"It is for homely features to keep home,
They had their name thence."

"Wear out thy youth with shapeless idleness." Act I., Scene 1. Idleness is said to be "shapeless," as preventing the formation of manners and character.

-“Give me not the boots."-Act I., Scene 1. Probably an allusion to the instrument of torture so called; or the phrase may refer to a custom prevalent in Warwickshire and other counties, of instituting mock trials at periods of rejoicing, in which the instrument of punishment was a pair of boots. The expression occurs in other plays of the period.

"However, but a folly bought with wit,

Or else a wit by folly vanquished."-Act I., Scene 1. However" is here used in the sense of "either:" either you will purchase your folly by parting with your wit, or else your wit will be vanquished by the folly of your de

meanour.

"PRO. So, by your circumstance, you call me fool. VAL. So, by your circumstance, I fear you'll prove." Act I., Scene 1. The word "circumstance" is here used, first, as the result of what has preceded; and secondly, with reference to the predicament in which Valentine supposes his friend to stand.

"As in the sweetest bud

The eating canker dwells."—Act I., Scene 1. Shakspere has on various occasions used this beautiful image. In the seventieth sonnet, for instance, we have,"For canker vice the sweetest buds doth love."

"To Milan, let me hear from thee by letters." Act I., Scene 1. That is, by letters addressed to Milan.

'Made wit with musing weak, heart sick with thought." Act I., Scene 1. Indulging in musing, or reverie, has made my intellect dull or inapprehensive.

"Enter SPEED."-Act I., Scene 1.

Pope, in his edition, stigmatises this scene as composed of the lowest and most trifling conceits, and felt inclined to omit it altogether, under the notion that it had been foisted in by the actors. But so greatly does public taste alter with time, that no small portion of Pope's own verse would be omitted or thrust to the bottom of the page, if what is now deemed coarseness or comparative want of merit were to regulate the canon of authenticity.

-“I have played the sheep, in losing him."—Act I., Scene 1. "Ship" and "sheep" are still pronounced alike in some English counties.

"A laced multon."-Act I., Scene 1.

A cant term for a courtesan. The expression is common in old plays. But the indifference with which Proteus hears it applied to Julia, can only be accounted for (if commentators are bound to account for every anomaly in their author's text) on the supposition that, as he has condescended to enter into this quibbling contest with a servant, he must allow for the ignorance and coarseness of his antagonist.

"In that you are astray."-Act I., Scene 1. A stray sheep.

"Nod, I; why, that's noddy."-Act I., Scene 1. The particle "aye" was formerly indicated by the simple letter "L."

"You have testerned me."-Act I., Scene 1. "Testern" was the old term for sixpence. The word (which is now out of polite use) is at present pronounced "tester."

"Of all the fair resort of gentlemen

That every day with parle encounter me."-Act I., Scene 2. With words, or speech.-The whole character of Julia in this play is in the best style of Shakspere's domestic heroines she is a delightful compound of delicate ardour and romantic, undoubting devotion; and bears much the same relation to her knowing and worldly, yet not ill-natured, serving-maid Lucetta, that Desdemona exhibits in comparison with Iago's better though ambiguous half. Julia's portion of their dialogue in the second act is exquisite.

"Launce, away, away, aboard."-Act II., Scene 3.

The poetical or geographical license here taken by the author in sending Proteus to Milan by water, we must digest as we may; thanking our propitious stars that we live in an age of dictionaries and compendiums. It is plain that Shakspere's information was extensive for a man not regularly educated; but he must have had an instinct of knowledge equal to his instinctive dramatic faculty, had he not occasionally stumbled in that most useful, but most unpoetic employment, "hunting for facts."

"Know you Don Antonio?"-Act II., Scene 4. The author here, from lapse of memory, applies a Spanish title to an Italian signior.

"No woe to his correction."-Act II., Scene 4. No woe compared to the smart or correction he inflicts. This is an old idiom.

-“ Waxen image 'gainst a fire.”—Act II., Scene 4. This alludes to the custom attributed to supposed witches, of making waxen images of those whom they wished to destroy; as the image melted before the fire, the original was supposed to melt too.

"Tis but her picture I have yet beheld."-Act II., Scene 4. Her mere person, which gives but a faint idea of her mental perfections.

"How say'st thou ?"-Act II., Scene 5.

Meaning, "What sayest thou to this?"

"Go to the ale with a Christian."--Act II., Scene 5. Ales were merry-makings connected with the festivals of the church.

“Myself in counsel his competitor."—Act II., Scene 6.

The term "competitor" is here used in the sense of "confederate." So in "TWELFTH NIGHT," the Clown seeing Maria and Sir Toby approach, who are joined in the plot against Malvolio, exclaims," The competitors enter."

-" Pretended flight.”—Act II., Scene 6. "Intended." So in "MACBETH:" "What could they pretend?" The French word "pretendre" has an equivalent meaning.

"Longing journey."—Act II., Scene 7.

A journey I long to undertake. Or, the phrase may mean, a journey which I shall pass in longing or desiring to see terminated.

"Lest my jealous aim might err."-Act III., Scene 1. "Aim," is here used in the sense of "guess," or "supposition."

"Where I thought."-Act III., Scene 1. "Where," for "whereas :" a frequent idiom in the old

writers.

"Dumb jewels often, in their silent kind,

More than quick words, do move a woman's mind.”

Act III., Scene 1

It is much to be doubted whether women are more susceptible than men on this point. If they are, it is probably because they consider a gift as a proof of sincerity; as an evidence that they are thought of in their absence.

"What lets."-Act III., Scene 1.
Hinders, or prevents. So in "HAMLET:"-

"I'll make a ghost of him that 'lets' me."
"For they are sent by me."-Act III., Scene 1.
"For that," or "because" they are sent by me.

“Merop's son.”—Act III., Scene 1. The meaning is,-"Thou art con.paratively a low-born wretch; not the genuine son of Apollo."

"I fly not death, to fly his deadly doom.”— Act III., Scene 1.

"By" flying, or "in" flying. If I stay, I may suffer death; if I depart, I destroy myself.

"Milk-white bosom of thy love."-Act III., Scene 1.

Steevens asserts that it was formerly usual for women to have a pocket in the fore part of their stays, and thinks that this phrase conveys an allusion to the alleged custom. A similar expression occurs in HAMLET."

"That's all one, if he be but one knave."—Act III., Scene 1.

This passage has a good deal puzzled the commentators. It seems merely a trifling jingle on the word "one," without any specific meaning.-In reference to trifles like these, Malone observes that, "In Shakspere's time, and long before, it was customary, in almost every play, to introduce a jester, who, with no great propriety, was denominated a clown, whose merriment made a principal part of the entertainment of the lower ranks, and, I believe, of the higher orders also. When no clown or jester was introduced in a comedy, the servants of the principal personages sustained his part; and the dialogue attached to them was written with a particular view to supply that deficiency, and to amuse the audience by the promptness of their pleasantry, and the liveliness of their conceits. Such is the province assigned to those characters in Lilly's comedies, which were performed with great success and admiration for several years before Shakspere's time; and such are some of the lower characters in this drama, the 'COMEDY OF ERRORS,' 'LOVE'S LABOUR'S LOST,' and some others."

These remarks may serve as a general note of introduction to the comic characters of Shakspere; and even when we meet, in his graver scenes, with occasional specimens of the trivialities adverted to, let us not hastily conclude that his defects are no less singular and surprising than his excellences; since we have only to turn to the sermons of Donne, his eloquent and earnest contemporary, to find how thoroughly a passion for quibbling and conceits had infected every branch of literature in the splendid era which they both so greatly contributed to adorn.

"She hath had gossips."-Act III., Scene 1. "Gossips" was a term applicable, in a particular manner, to godmothers, or to those females who visited a woman in her lying-in.

"It was the son of thy grandmother."-Act III., Scene 1. An insinuation that the legitimacy of a child can be certainly known to its mother only.

“St. Nicholas be thy speed!"—Act III., Scene 1. St. Nicholas presided over clerks or learned persons. He was exalted to this honour, according to the legend, for having miraculously restored the lives of three young scholars who had been murdered. By the statutes of St. Paul's School, the scholars are required to attend divine service at the cathedral, on the anniversary of St. Nicholas.

"The cover of the salt hides the salt."-Act III., Scene 1.

The ancient salt-cellar was generally a large piece of plate, with a cover. There was but one on the table; and the mark of gentility was, to sit above the salt.

"My daughter takes his going grievously."-Act III., Scene 2.

On this passage, Malone has a note, which is curious and valuable, inasmuch as it shews that some attention was paid to the editing of the first folio. He says:-"So [grievously] some copies of the first folio (1623), the only authentic copy of this play; others, of which mine is one, have 'heavily.' Those copies which have 'grievously,' have also, in one of Launce's speeches in the preceding scene, 'in that last article;' instead of which, in the copies that read 'heavily,' we find, in that article.' Both these corrections appear to have been made while the sheet was working off at the press."

"You must provide to bottom it on me."-Act III., Scene 2. The reference is to what is called a bottom, or ball, of thread. The following lines, from Grange's "GARDEN' (1557), will throw light upon the passage:

"A bottom for your silk, it seems,

My letters are become;

Which oft, with winding off and on,

Are wasted whole and some."

"Tune a deploring dump.”—Act III., Scene 2.

The term "dump" is now used only in a ludicrous sense; but there were, formerly, regular serious pieces of music so called, some of which are still preserved.

"Have you the tongues?"-Act IV., Scene 1. "Do you speak various languages!"

-“Awful men."-Act IV., Scene 1. "Awful" is here, and in various other places, used in the sense of "lawful."

"As we do in our quality much want."—Act IV., Scene 1 In our kind or profession. So in the "TEMPEST:"— -"Task

Ariel and all his quality."

"On silly women, or poor passengers."-Act IV., Scene 1. This was one of the rules of Robin Hood's fraternity, and, no doubt, contributed to their popularity.

"Beauty lives with kindness."—Act IV., Scene 2. Beauty without kindness neither possesses happiness, nor imparts it.

"Out of all nick."-Act IV., Scene 2.

Beyond all reckoning. Alehouse reckonings were formerly kept upon nicked or notched tallies, as well as more important accounts. In the old play of "A WOMAN NEVER VEXED," an innkeeper says,

"I have carried

The tallies at my girdle seven years together,

For I did ever love to deal honestly in the nick." It is within these few years only, that this comparatively troublesome and inefficient method of reckoning was discontinued at the public exchequer.

"Upon whose grave thou vow'dst pure chastity."

Act IV., Scene 3.

This alludes to a practice common in former ages, for widows and widowers (and, probably, also betrothed lovers) to make vows of chastity in honour of their deceased wives or husbands. In "DUGDALE'S ANTIQUITIES OF WARWICKSHIRE," says Steevens, there is the form of a commission, by the bishop of the diocese, for taking a vow of chastity by a widow. It seems that, besides observing the vow, the widow was for life to wear a veil and a mourning habit The last distinction we may suppose to have been also made in respect of male votaries.

AL extract from "STUBBS' ANATOMIE OF ABUSES" (1505), will explain this allusion:-" When they use to ride abroad, they have masks or visors made of velvet, wherewith they cover all their faces, having holes made in them against their eyes, whereout they look; so that if a man that knew not their guise before should chance to meet one of them, he would think he met a monster or a devil; for face he can shew [see] none, but two broad holes against their eyes, with glasses in them."

"Since she respects my mistress' love so much." Act IV., Scene 4. This is a lapse of memory in the author, unless we suppose Julia to be so wrapped in the scene, that, for the moment, she thinks herself the youth she represents. The following line has, probably, reference to this meaning. On recovering her recollection, we may suppose her to say,"Alas! how love can trifle with itself!"

"Such a coloured periwig."—Act IV., Scene 4.

It seems, from various contemporary authorities, that false hair was much worn in Shakspere's time: the custom, however, had newly arisen. In "NORTHWARD HOE" (1607), we find this passage :-"There is a new trade come up for cast gentlewomen, of periwig-making. Let your wife set up in the Strand." There is a fine satirical allusion to the practice in question in the "MERCHANT OF VENICE:"—

"So are those crispéd, snaky, golden locks,
Which make such wanton gambols with the wind,
Upon supposéd fairness, often known

To be the dowry of a second head,
The skull that bred them in the sepulchre."

perhaps, is its most fitting designation) have been universally acknowledged. Even Johnson, whose criticism seems generally written on the see-saw system of giving an equal amount of praise and blame to Shakspere's productions, says of this play, that "few have more lines or passages which, singly considered, are eminently beautiful." The remarks of Schlegel are characteristic of his wise and genial spirit:-"The Two GENTLEMEN OF VERONA' paints the irresolution of love, and its infidelity towards friendship, in a pleasant, but, in some degree, superficial manner; we might almost say, with the levity of mind which a passion suddeniy entertained, and as suddenly given up, presupposes. The faithless lover is at last forgiven, without much difficulty, by his first mistress, on account of his ambiguous repentance. For the more serious part, the premeditated flight of the daughter of a prince; the captivity of her father along with herself by a band of robbers, of which one of the two gentlemen (the faithful and banished friend) has been compulsively elected captain;-for all this, a peaceful solution is soon found. It is as if the course of the world was obliged to accommodate itself to a transient, youthful caprice, called love."

“All that was mine in Silvia I give thee."—Act V., Scene 4.

This sudden renunciation of his mistress by Valentine is certainly startling, and perhaps unnatural. But we are to consider, that his mind is in the first glow of returning kindness towards his old and dearest friend, whose penitence touches him, and whose happiness he believes to require the sacrifice. Such romantic generosity is not uncommon in fiction, and probably not altogether unknown in actual life. One of Goldsmith's best serious essays, called "ALCANDER AND SEPTIMIUS," is founded on a similar incident: whether derived from fact, we are not prepared to say. The editor of a contemporary edition of Shakspere offers the very ingenious suggestion, that these two remarkable lines should be given to Silvia, and addressed to Valentine; but, on a general view of his character, we have no doubt of the genuineness of the present reading.

—“Give aim to all thy oaths."-Act V., Scene 4.
Was the object to which all your oaths were directed.

“Cleft the root.”—Act V., Scene 4.

The allusion is to cleaving the pin, or nail, in archery.

—“ If shame live

In a disguise of love."—Act V., Scene 4.

If there be any disgrace in assuming a disguise from a motive of love.

"The measure of my wrath.”—Act V., Scene 4 The sweep of my sword. So Macduff says,—— "Within my sword's length set him.”

"Thou art a gentleman, and well derived.”—Act V., Scene 4

This is an instance, founded on observation, how far prejudice alters our view even of the simplest and most apparent facts. The Duke has more than once, in his anger, spoken of Valentine as one of mean birth, and even calls him peasant. But now, being inclined to favour him, he finds, on the sudden, that he is "a gentleman, and well derived.

"Include all jars.”—Act V., Scene 4.

Shut in, or enclose, all jars. In Cowdrey's "ALPHABETICAL TABLE OF HARD ENGLISH WORDS" (1804), we find, "To include: to shut in, to containe within."

"Triumphs."-Act V., Scene 4.

This term was applied, in Shakspere's day, to shows or processions of a serious nature.