equivalent to owes me a grudge;' for in all these cases it can hardly be a misprint for "bear me hate," to which otherwise it might plausibly be changed.

p. 326.

p. 327.

p. 328.

"

p. 329.

p. 330.

་

SCENE III.

Brought you Cæsar home? This use of 'brought you' for did you accompany' is a relic of an earlier use of 'bring,' which was not at first limited to the expression of conveying hitherward.

(I have not since," &c.: The folio reads, "I ha' not," &c.

"Who glar'd upon me : The folio, "Who glaz'd upon me : - a misprint hardly worth notice, and which Southern corrected in his copy of the fourth folio.

and case yourself in wonder": The folio, "and cast yourself," &c., which seems manifestly a misprint, although it has been hitherto retained. Casca puts on fear, and cases, or covers, himself with wonder. So in Much Ado, Act IV. Sc. 1, "I am so attir'd in wonder." "Why birds, and beasts, from quality and kind,” &c. : i. e., Why are birds and beasts changed in their natures ? as in the next line, "Why do old men become fools, and children prudent? In the latter case the folio prints and punctuates, "Why old men, fools, and children calculate," but with manifest error. We have the superfluous s again.

"Have thewes and limbs : thews, the stature," &c., 1 King III. Sc. 2.

"In favour 's like," &c. : favour's," &c.

See the Note on the
Henry the Fourth, Act

The folio misprints,

"Is

p. 331. "O, Cassius! if you could":- From the very defective rhythm of this passage, I suspect that it is corrupt.

p. 333.

three parts of him

Is ours already":- The disagreement in number

so common in Shakespeare's time.

ACT SECOND.

SCENE I.

when his affections sway'd": Not his love, but his susceptibility to external influences. See the Note on "And others when the bagpipe sings," Merchant of Venice, Act IV. Sc. 1.

p. 333.

p. 334.

p. 335.

p. 336.

p. 339.

p. 340.

p. 341.

the ides of March? The folio, "the first of March," which manifest error was corrected by Theobald. Sir, March is wasted fifteen days":- So the folio, which was changed by Theobald (who has been generally followed) to "fourteen days," because Lucius is speaking at the dawn of the fifteenth day. But this is to be too exact. In common parlance Lucius is correct.

and the state of man

of a man. Rowe made the change.

"Sir, 'tis your brother Cassius" Brutus' sister.

The folio," the state

Cassius had married

"For if thou path":— So the folio; according to which text 'path' must be regarded as meaning walk. In support of this use of 'path' Drayton only has been cited.

"His ghostly counsels onely doe advise

The meanes how Langleys Progenie may rise
Pathing young Henries unadvised wayes."

But here 'pathing' is used not in the general sense of
walking, but of treading a particular path. Southern
and Coleridge independently suggested, put.' The 4to.
of 1691 has, "For if thou hath," &c. I am inclined to
the opinion that 'path' is a misprint of 'hadst.'

if not the face of men," &c.: — - This is one of those passages which Shakespeare commences upon one construction and finishes upon another, and yet produces no confusion of thought. See the Note on "Ye elves of hills," The Tempest, Act V. Sc. 1.

go along by him":- i. e., by his house.

the honey-heavy dew of slumber":―i. e., slumber as refreshing as dew, and whose heaviness is sweet. The exegesis is justified by the favor with which the reading of Mr. Collier's folio of 1632 "the heavy honey-dew of slumber has been received in some quarters. The folio, with a superfluity of hyphens not unfrequent in it, has, "the honey-heauy-Dew," &c.

an angry wafture” : — The folio, "6 wafter." See Notes on the ""Tis not the roundure," &c.. King John, Act II. Sc. 1, p. 112, and "an inland man," As You Like It, Act III. Sc. 2, p. 375.

"I charm you," &c. : i. e., I conjure you. Pope read, "I charge you."

p. 342.

p. 343.

p. 344.

p. 345.

p. 347.

p. 349.

Dwell I but i̇th' suburbs": See the Note on "All houses in the suburbs," Measure for Measure, Act I. Sc. 2.

"To wear a kerchief! 'Would you were not sick!" In Shakespeare's time it was common for sick men to tie a kerchief round their heads, as women now in sickness put on caps, even when they do not keep abed. For 'sick,' the correct English adjective to express all degrees of suffering from disease, and which is universally used in the Bible and by Shakespeare, the Englishman of Great Britain has poorly substituted the adverbill.'

SCENE II.

Here cere

I never stood on ceremonies monies' is used in the sense of auguries, omens. "Fierce fiery warriors fought": The folio, "fight;' but drizzled" and " and "hurtled," in the second and third lines below, plainly forbid the use of the present tense in this. In the fourth line below, the folio also misprints, "Horses do neigh."

"We are two lions," &c.: The folio, "We heare two lions." Theobald read, "We were," &c. But Upton's reading that of the text- is preferable, not only for its better sense, but because are? - pronounced air — and 'heare' - pronounced hair (See "this unhear'd sauciness,' &c., King John, Act V. Sc. 2) might easily have been confounded in Shakespeare's time, especially by a compositor or a transcriber who "exhaspirated his haitches." "And reason to my love is liable": This use of liable for conformable' is not uncommon in New England.

SCENE IV.

but get thee gone": Professor Craik (The English of Shakespeare, p. 176) remarks upon this phrase that it is "an idiom; that is to say, a peculiar form of expression, the principle of which cannot be carried out beyond the particular instance. Thus, we cannot say either Make thee gone' or 'He got him (or himself) gone.' Is this true? We do not; but can we not? i. e., in accordance with the laws of thought and the principles of our language. Is not gone' used (in this phrase, as in many others) merely as a synonyme of 'away'? We say, 'Get thee gone,' as we say, 'Get thee up' or 'Get thee down.' And as we say, Make thee away' or 'He got him away,' is there any objection but

p. 350.

p. 352.

p. 353.

lack of usage against Make thee gone' or 'He got him gone'?

"Enter Artemidorus": The folio, "Enter the Soothsayer," but erroneously, as Rowe discovered. The following dialogue is manifestly between Portia and the speaker in the previous Scene, whom she meets on his way to a convenient place where to address Cæsar. - The arrangement of the verse here is that of the folio, which seems to me much preferable to the following, which was made by Malone, and has been generally adopted.

"What touches us ourself," &c.: - Mr. Collier's folio of 1632 makes the specious, but entirely needless change, "That touches us? Ourself shall be last serv'd."

"What! urge you your petitions in the street?

Come to the Capitol": Were it not for my extreme unwillingness to make any change not absolutely necessary in the arrangement of these plays, I should begin a new Scene after this speech, as, but for the same reason, I should have done in King Henry the Eighth, Act V. Sc. 2. (See the Note there on "The Council Chamber," p. 449.) For, although there was no change of scenery in Shakespeare's day, the audience was at this point manifestly to suppose a change of scene; and, indeed, it is impossible to perform this Scene as one, unless it is all made to pass in the Senate Chamber, which was clearly not intended by Shakespeare. But as change is not necessary for the reader, and as the present arrangement has not been even questioned hitherto, I leave it undisturbed, with this indication of its inconsistency.

"Cassius on Cæsar The folio, "Cassius or Cæsar.' But I adopt Malone's suggested reading; for, although Cassius' suicide would prevent his turning back, what effect could it possibly have on Cæsar's?

"He is address'd":— i. e., made ready, prepared.

p. 353.

"Cas. Are we all ready?" — In the folio this question is made a part of Cæsar's speech, the impropriety of which was noticed by Ritson, who proposed to transfer the words to Cinna. But they form an appropriate reply by Casca to Cinna's monition; and the error is easily ac counted for by the similarity between the prefixes Cask. and Caf. The correction is from Mr. Collier's folio of 1632.

"These couchings" : — Here Mr. Collier's folio of 1632 has, "crouchings," and just below, "Low-crouched curtesies superfluously, however, as Mr. Singer showed by these quotations from Huloet: "Cowche, like a dogge; procumbo, prosterno," "crooke-backed or crowchebacked. And crook' is but 'crouch' with the ch hard.

"Into the law of children":- The folio,

The folio, "the lane of children an obvious misprint, which was yet left to be corrected by Johnson. Between lane and lane there is the slightest possible difference.

Know, Cæsar doth not wrong On the authority of a passage in Ben Jonson's Explorata, (ed. 1640, fol. p. 98,) it has been supposed that we have not this line as Shakespeare wrote it. Jonson says that Shakespeare "many times fell into those things that could not escape laughter," and adds, by way of exemplification, "as when he said, in the person of Cæsar, one speaking to him, 'Cæsar, thou dost me wrong,' he replied, 'Cæsar did never wrong but with just cause.' But, as Mr. Collier has remarked, "It is very evident that Ben Jonson was only speaking from memory, shaken (as he confesses in the same work) with age now, and sloth;' because Metellus had not said, 'Cæsar, thou dost me wrong,' nor any thing like it, though that might have been the upshot of his complaint.”

p. 354. [Casca stabs Cæsar," &c.:

This stage direction was made up in the last century from the accounts of the assassination given by Plutarch and Suetonius. The folio has only, "They stab Cæsar.'

"Et tu, Brute? There is no authority for attributing this speech to Cæsar. But, according to an account recorded by Suetonius, Cesar, on seeing Brutus stab, uttered the touching exclamation, Καὶ σὺ, τέκνον and thou, my son! Shakespeare, however, found the Latin phrase made to his hand; and years before the writing of Julius Cæsar it was used in the True Tragedy of Richard Duke of York, "Et tu, Brute? Wilt thou stab Cæsar, too? p. 176, Shak. Soc. Ed.