Attefted by the holy close of lips, Strengthen'd by interchangement of your rings;" And all the ceremony of this compact Seal'd in my function, by my teftimony: Since when, my watch hath told me, toward my grave, I have travell'd but two hours. DUKE. O, thou diffembling cub! what wilt thou be, When time hath fow'd a grizzle on thy cafe?' Or will not else thy craft fo quickly grow, That thine own trip fhall be thine overthrow? Farewel, and take her; but direct thy feet, Where thou and I henceforth may never meet. V10. My lord, I do proteft, OLI. O, do not fwear; Hold little faith, though thou haft too much fear. Enter SIR ANDREW AGUE-CHEEK, with his head broke. SIR AND. For the love of God, a furgeon; fend one presently to Sir Toby. OLI. What's the matter? SIR AND. He has broke my head acrofs, and has 6-interchangement of your rings;] In our ancient marriage ceremony, the man received as well as gave a ring. This cuftom is exemplified by the following circumftance in Thomas Lupton's First Booke of Notable Things, 4°. bl. 1." If a marryed man bee let or hyndered through inchauntment, forcery, or witchcraft, from the acte of generation, let him make water through his maryage ring, and he fhall be loofed from the fame, and their doinges fhall have no further power in him." STEEVENS. 7cafe?] Cafe is a word ufed contemptuously for skin. We yet talk of a fox-cafe, meaning the ftuffed skin of a fox. JOHNSON. So, in Cary's Prefent State of England, 1626: "Queen Elizabeth afked a knight named Young, how he liked a company of brave ladies?-He answered, as I like my filver-haired conies at home; the cafes are far better than the bodies." MALONE. given fir Toby a bloody coxcomb too: for the love of God, your help: I had rather than forty pound, I were at home. OLI. Who has done this, fir Andrew? SIR AND. The count's gentleman, one Cefario: we took him for a coward, but he's the very devil incardinate. DUKE. My gentleman, Cefario? SIR AND. Od's lifelings, here he is:-You broke my head for nothing; and that that I did, I was fet on to do't by fir Toby. V10. Why do you speak to me? I never hurt you: You drew your fword upon me, without caufe; But I befpake you fair, and hurt you not. SIR AND. If a bloody coxcomb be a hurt, you have hurt me; I think, you fet nothing by a bloody coxcomb. Enter SIR TOBY BELCH, drunk, led by the Clown. Here comes fir Toby halting, you shall hear more: but if he had not been in drink, he would have tickled you othergates than he did. DUKE. How now, gentleman? how is't with you? SIR TO. That's all one; he has hurt me, and there's the end on't. Sot, did'ft fee Dick furgeon, fot? CLO. O he's drunk, fir Toby, an hour agone; his eyes were fet at eight i'the morning. SIR TO. Then he's a rogue. After a paffy-meafure, or a pavin, I hate a drunken rogue. old Then he's a rogue. After a paffy-measure, or a pavin, &c.] The сору reads and a paffy measures panyn." As the u in this word is reverfed, the modern editors have been contented to read" paft-measure painim.” OLI. Away with him: Who hath made this ha vock with them? A paffy-measure pavin may, however, mean a parvin danced out of time. Sir Toby might call the furgeon by this title, because he was drunk at a time when he should have been fober, and in a condition to attend on the wounded knight. This dance, called the paryn, is mentioned by Beaumont and Fletcher in The Mad Lover: "I'll pipe him fuch a pavan." And, in Stephen Goffon's School of Abufe, containing a pleasant invective against Poets, Pipers, &c. 1579, it is enumerated, as follows, among other dances: Dumps, pavins, galliards, meafures, fancyes, or newe ftreynes." I do not, at laft, fee how the fenfe will completely quadrate on the prefent occafion. Sir W. D'Avenant, in one of his interludes, mentions" a doleful pavin." In The Cardinal, by Shirley, 1652: "Who then shall dance the pavin with Oforio?" Again, in 'Tis pity fhe's a Whore, by Ford, 1633: "I have seen an afs and a mule trot the Spanish pavin with a better grace." Laftly, in Shadwell's Virtuofo, 1676: "A grave pavin or almain, at which the black Tarantula only moved; it danced to it with a kind of grave motion much like the benchers at the revels. STEEVENS. Bailey's Dictionary fays, pavan is the lowest fort of inftrumental mufic; and when this play was written, the pavin and the passamezzo might be in vogue only with the vulgar, as with Falftaff and Doll Tearsheet: and hence fir Toby may mean-he is a rogue, and a mean low fellow. TOLLET. Ben Jonfon alfo mentions the pavin, and calls it a Spanish dance, Alchemift, p. 97; [Whalley's edition] but it feems to come originally from Padua, and fhould rather be written pavane, as a corruption of paduana. A dance of that name (faltatio paduana) occurs in an old writer, quoted by the annotator on Rabelais, B. V. c. 30. Paffy measures is undoubtedly a corruption, but I know not how it fhould be rectified. TYRWHITT. The pavan, from pavo a peacock, is a grave and majestick dance. The method of dancing it was anciently by gentlemen dressed with a cap and fword, by thofe of the long robe in their gowns, by princes in their mantles, and by ladies in gowns with long trains, the motion whereof in the dance, refembled that of a peacock's tail. This dance is fuppofed to have been invented by the Spaniards, and its figure is given with the characters for the ftep, in the Orchefographia of Thoinet Arbeau. Every pavin has its galliard, a lighter kind of air, made out of the former. The courant, the jig, and the hornpipe are fufficiently known at this day. SIR AND. I'll help you, fir Toby, because we'll be dreffed together. Of the paffamezzo little is to be faid, except that it was a favourite air in the days of Q. Elizabeth. Ligon, in his History of Barbadoes, mentions a paffamezzo galliard, which in the year 1647, a Padre in that island played to him on the lute; the very fame, he fays, with an air of that kind which in Shakspeare's play of Henry IV. was originally played to Sir John Falstaff and Doll Tearsheet, by Sneak, the mufician, there named. This little anecdote Ligon might have by tradition; but his conclufion, that because it was played in a dramatic reprefentation of the hiftory of Henry IV. it must be fo ancient as his time, is very idle and injudi-Pally-meafure is therefore undoubtedly a corruption from palamezzo. SIR J. HAWKINS. With the help of Sir John Hawkins's explanation of pay-meafure, I think I now fee the meaning of this paffage. The fecond folio reads after a passy measures pavin.-So that I fhould imagine the following regulation of the whole fpeech would not be far from the truth: Then he's a rogue. After a paffy-measure or a pavin, I hate a drunken rogue, i. e. next to a pally measure or a pavin, &c. It is in character, that Sir Toby should exprefs a ftrong diflike of ferious dances, such as the passamezzo and the pavan are described to be. TYRWHITT. From what has been ftated, I think, it is manifeft that Sir Toby means only by this quaint expreffion, that the furgeon is a rogue, and a grave folemn coxcomb. It is one of Shakspeare's unrivalled excellencies, that his characters are always confiftent. Even in drunkenness they preserve the traits which diftinguished them when fober. Sir Toby, in the firft act of this play, fhewed himself well acquainted with the various kinds of the dance. The editor of the fecond folio, who, when he does not underftand any paffage, generally cuts the knot, inftead of untying it, arbitrarily reads "after a paffy-measures pavyn I hate a drunken rogue." In the fame manner, in the preceding fpeech, not thinking an hour agone" good English, he reads O he's drunk, fir Toby, above an hour agone.' There is fcarcely a page of that copy in which fimilar interpolations may not be found. ور MALONE. I have followed Mr. Tyrwhitt's regulation, which appears to be well founded on one of the many judicious corrections that stamp a value on the fecond folio. STEEVENS. SIR TO. Will you help an ass-head, and a coxcomb, and a knave? a thin-faced knave, a gull?, OLI. Get him to bed, and let his hurt be look'd to. [Exeunt Clown, SIR TOBY, and SIR ANDREW. Enter SEBASTIAN. SEB. I am forry, madam, I have hurt your man; But, had it been the brother of my blood, kinf DUKE. One face, one voice, one habit, and two perfons; 2 A natural perspective, that is, and is not. — an afs-head, and a coxcomb, &c.] I believe, Sir Toby means to apply all these epithets either to the furgeon or Sebaftian; and have pointed the paffage accordingly. It has been hitherto printed, Will you help an afs-head," &c. but why fhould Sir Toby thus unmercifully abufe himfelf? MALONE. As I cannot help thinking that Sir Toby, out of humour with himself, means to discharge thefe reproaches on the officious Sir Andrew, who alfo needs the furgeon's help, I have left the paffage as I found it. Mr. Malone points it thus: "Will you help?—An afs-head," &c! STEEVENS. A natural perspective,] A perspective feems to be taken for fhows exhibited through a glafs with fuch lights as make the pictures appear really protuberant. The Duke therefore fays, that nature has here exhibited fuch a fhow, where fhadows feem realities; where that which is not appears like that which is. JOHNSON. I apprehend this may be explained by a quotation from a duodecimo book called Humane Induftry, 1661, p. 76 and 77: "It is a pretty art that in a pleated paper and table furrowed or in |