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His counsel now might do me golden service:
I have not disturbed the text, I very much suspect that the poet wrote:
and there I found this credent. He uses the same term again in the very same sense in The Winter's Tale :
“ Then 'tis very credent,
Tbeobald. Credit, for account, information. The Oxford editor roundly alters it to current; as he does almost every word that Shakspeare uses in an anomalous signification. Warburton.
Theobald proposes to read credent, but credent does not signify justified or vouched; it means probable only, as appears from the passage he himself has quoted. Warburton says, that credit means account or information; but as I know no instance of the word's being used in that acceptation, I believe we should read, credited instead of credit. M. Mason.
Credent is creditable, not questionable. So, in Measure for Measure, Angelo says:
“ For my authority bears a credent bulk.” Steevens. Perhaps credit is here used for credited. So, in the first scene of this play, beat for beated; and in Hamlet, boist for boisted.
Malone. After all, I belive the word-credit, to have been rightly un. derstood by Dr. Warburton, though he has given no example in support of his interpretation.
Dr. Robertson, speaking of some memorandums included in the Letters to Mary Queen of Scots, observes, that they were not “ the credit of the bearer;" i. e. points concerning which the Queen had given him verbal instructions, or information.
Credit therefore might have been the prevalent term for oral intelligence
Again, in Mr. Whitaker's Vindication of the same Queen, Vol. II, p. 145: “. these are expressly understood from the makers of the letters themselves, when they produced them at York to be the credit gifin to the berar.' This mode of referring to the credit of a bearer was no uncommon one in those times.”
In this sense also it occurs in the fragment of a Letter from the Earl of Shrewsbury to Queen Elizabeth. See Lodge's Illustrations, &c. Vol. II, p. 129: “. - and because Mr. Beale hys credyt ys wth yor Mate to make accompt of hyr ansure, and delyngs the Fréche have had here, I leave all to hys reporte.”
See also Letter XXXIII in the Paston Collection, Vol. II, p. 41, in which credence appears to have the same meaning. Again, ibid. p. 331. Steevens.
Yet doth this accident and flood of fortune
Enter OLIVIA and a Priest.
- all instance, all discourse,] Discourse, for reason.
Warburton. Instance is example. Fobnson.
4 To any other trust,] To any other belief, or confidence, to any other fixed opinion. Fohnson.
deceivable.] Our author licentiously uses this word for deceptious. Malone.
6 That is deceivable. But here comes the lady.] The old copy reads:
But bere the lady comes.” Stecoens. ? Into the chantry by :] Chantries (says Cowel, in his Law Dictionary) are usually little chapels, or particular altars, in some cathedral or parochial church; and endowed with revenues for the maintenance of one or more priests, whose office it is to sing masses for the souls of their founders, &c. Steevens.
8 Whiles - ) is until. This word is still so used in the north. ern counties. "It is, I think, used in this sense in the preface to the Accidence. Johnson,
Almost throughout the old copies of Shakspeare, wbiles is given us instead of wbile. Mr. Rowe, the first reformer of his spelling, made the change. Steevens.
What time we will our celebration keep
Seb. I'll follow this good man, and go with you;
vens so shine, That they may fairly note this act of mine! [Excunt.
ACT V ..... SCENE I.
The Street before Olivia's House.
Enter Clown and Fabian. Fab. Now, as thou lovest me, let me see his letter. Clo. Good master Fabian, grant me another request. Fab. Any thing Clo. Do not desire to see this letter.
Fab. That is, to give a dog, and, in recompense; desire my dog again.
Enter DUKE, VIOLA, and Attendants. Duke. Belong you to the lady Olivia, friends? Clo. Ay, sir; we are some of her trappings.
Duke. I know thee well; How dost thou, my good fellow?
Clo. Truly, sir, the better for my foes, and the worse for my
friends. Duke. Just the contrary; the better for thy friends. Clo. No, sir, the worse. Duke. How can that be?
Clo. Marry, sir, they praise me, and make an ass of me; now my foes tell me plainly I am an ass: so that by my foes, sir, I profit in the knowledge of myself;
It is used in this sense in Tarleton's Newes 'out of Purgatorie.
Malone. truth,] Truth is fidelity. Fohnson.
heavens 80 shine, &c.] Alluding perhaps to a superstitious supposition, the memory of which is still preserved in a proverbial saying: “ Happy is the bride upon whom the sun shines, and blessed the corpse upor which the rain falls." Steevens.
and by my friends I am abused: so that, conclusions to be as kisses, if your four negatives make your two affirmatives, why, then the worse for my friends, and the better for
foes. Duke. Why, this is excellent.
Clo. By my troth, sir, no; though it please you to be one of my friends.
Duke. Thou shalt not be the worse for me; there's gold.
Clo. But that it would be double dealing, sir, I would you could make it another.
Duke. O, you give me ill counsel.
Clo. Put your grace in your pocket, sir, for this once, and let'your flesh and blood obey it.
Duke. Well, I will be so much a sinner to be a double dealer; there 's another.
Clo. Primo, secundo, tertio, is a good play; and the old saying is, the third pays for all: the tripleà, sir, is a good tripping measure; or the bells of St. Bennet, sir, may put you in mind;3 One, two, three.
conclusions to be as kisses, if your four negatives make your two affirmatives,] One cannot but wonder, that this passage should have perplexed the commentators. In Marlowe's Lust's Dominion, the Queen says to the Moor:
“ Come, let 's kisse." Moor. “ Away, away.” Queen.“ No, no, sayes, I; and twice away, sayes stay."
Sir Philip Sidney has enlarged upon this thought in the sixtythird stanza of his Astrophel and Stella. Farmer.
or the bells of St. Bennet, sir, may put you in mind;] That is, if the other arguments I have used are not sufficient, the bells of St. Bennet, &c. Malone. We should read~" as the bells of St. Bennet," &c. instead
M. Mason. When in this play Shakspeare mentioned the bed of Ware, he recollected that the scene was in Illyria, and added, in England; but his sense of the same impropriety could not restrain him from the bells of St. Bennet. Fohnson.
Shakspeare's improprieties and anachronisms are surely venial in comparison with those of contemporary writers. Lodge, in his True Tragedies of Marius and Sylla, 1594, has mentioned the razors of Palermo and St. Paul's steeple, and has introduced a Frenchman, named Don Pedro, who, in consideration of receiving forty crowns, undertakes to poison Marius. Stanyhurst, the translator of four books of Virgil, in 1582, compares Cho
Duke. You can fool no more money out of me at this throw: if you will let your lady know, I am here to speak with her, and bring her along with you, it may awake my bounty further.
Clo. Marry, sir, lullaby to your bounty, till I come again. I go, sir; but I would not have you to think, that my desire of having is the sin of covetousness: but, as you say, sir, let your bounty take a nap, I will awake it anon.
[Exit Clo. Enter ANTONIO and Officers. Vio. Here comes the man, sir, that did rescue me
Duke. That face of his I do remember well; Yet, when I saw it last, it was besmear'd As black as Vulcan, in the smoke of war: A bawbling vessel was he captain of, For shallow draught, and bulk, unprizable; With which such scathful“ grapple did he inake With the most noble bottom of our fleet, That very envy, and the tongue of loss, Cry'd fame and honour on him.-What 's the matter?
1 Off. Orsino, this is that Antonio, That took the Phønix, and her fraught, from Candy; And this is he, that did the Tiger board, When your young nephew Titus lost his leg: Here in the streets, desperate of shame, and state, In private brabble did we apprehend him.
ræbus to a bedlamite, says, that old Priam girded on his sword Morglay; and makes Dido tell Æneas, that she should have been contented had she been brought to bed even of a cockney:
“ Saltem si qua mihi de te suscepta fuisset
yf yeet soom progenye from me
scathful —] i. e. mischievous, destructive. So, in Decker's If this be not a good Play, the Devil is in it, 1612:
“ He mickle scatb hath done me.” Again, in The Pinner of Wakefield, 1599 : “ That offereth scath unto the town of Wakefield"
Steevens, desperate of shame, and state,] Unattentive to his character or his condition, like a desperate man. Fohnson. VOL. III.