We men may say more, fwear more: but, indeed, Duke. But dy'd thy fifter of her love, my boy? "That Grief and Patience, rooted in him both, I am aware that Homer's danpuber yeλacasa, and a paffage in Macber b,- "Wanton in fulinefs, feek to hide themselves "In drops of forrow-" may be urged against this interpretation; but it should be remembered, that in thefe inftances it is joy which burfts into tears. There is no inftance, I believe, either in poetry or real life, of forrow fmiling in anguish. In pain indeed the cafe is different: the fuffering Indian having been known to fmile in the midft of torture.-But, however this may be, the fculptor and the painter are confined to one point of time, and cannot exhibit fucceffive movements in the countenance. Dr. Percy however thinks, that "grief may here mean grievance, in which fenfe it is ufed in Dr. Powel's Hiftory of Wales, quarto, p. 356. "Of the wrongs and griefs done to the noblemen at Stratolyn" &c. In the original, (printed at the end of Wynne's Hiftory of Wales, octavo,) it is gravamina, i. e. grievances."-The word is likewife often ufed by our author in the fame fenfe, (So, in King Henry IV. P. I. the king hath fent to know The nature of your griefs;) but never, I believe, in the fingular number. In fupport of what has been fuggefted, the authority of Mr. Rowe may be adduced, for in his life of Shakspeare he has thus exhibited this paflage: "She fat like Patience on a monument, In the obfervations now fubmitted to the reader I had once fome confidence, nor am I yet convinced that the objection founded on the particle at, and on the difficulty, if not imposibility, or a fculptor forming fuch a figure as thefe words are commonly fuppofed to defcribe, is without foundation. I have therefore retained my note; yet I must acknowledge, that the following lines in K. Richard II. which have lately occurred to me, render my theory fomewhat doubtful, though they do not overturn it : "His face ftill combating with tears and fmiles, Here we have the fame idea as that in the text; and perhaps Shakspeare never confidered whether it could be exhibited in marble. MALONE. And And all the brothers too2;-and yet I know not:- Duke. Ay, that's the theme. To her in hafte; give her this jewel; fay, My love can give no place, bide no denay 3. [Exeunt. SCENE V. Olivia's Garden. Enter Sir TOBY BELCH, Sir ANDREW AGUE-CHEEK, and FABIAN. Sir To. Come thy ways, fignior Fabian. Fab. Nay, I'll come; if I lofe a fcruple of this fport, let me be boil'd to death with melancholy. Sir To. Would't thou not be glad to have the niggardly rafcally sheep-biter come by fome notable shame? Fab. I would exult, man: you know, he brought me out of favour with my lady, about a bear-baiting here. Sir To. To anger him, we'll have the bear again; and we will fool him black and blue: Shall we not, fir Andrew? Sir And. An we do not, it is pity of our lives. Enter MARIA. Sir To. Here comes the little villain :-How now, my metal of India 4 ? 4 I am all the daughters of my father's boufe, And all the brothers too;] This was the moft artful answer that' could be given. The queftion was of fuch a nature, that to have declined the appearance of a direct answer, must have raifed fufpicion. This has the appearance of a direct answer, that the fifter died of ber love; the (who paffed for a man) faying, she was all the daughters of her father's houfe. WARBURTON. 5-denay.] Denay is denial. To denay is an antiquated verb fome times ufed by Holinfhed, and alfo by Warner in his Albion's Ergland, 1002. STEEVENS. 6-my metal of India ] My precious girl, my girl of gold. STEEVENS. So, in K. Henry I. P. I. "Lads, boys, bearts of gold," &c. The old copy has mettle, The two words are very frequently confounded in the early editions of our author's plays. The editor of the fecond folio arbitrarily changed the word to nettle; which all the fubfequent editors have adopted. MALONE. E 2 Mar. Mar. Get ye all three into the box-tree: Malvolio's coming down this walk; he has been yonder i'the fun, practifing behaviour to his own fhadow, this half hour: obferve him, for the love of mockery; for, I know, this letter will make a contemplative ideot of him. Close, in the name of jefting [The men hide themselves.] Lie thou there; [throws down a letter.] for here comes the trout that must be caught with tickling. [Exit MARIA. Enter MALVOLIO. Mal. "Tis but fortune; all is fortune. Maria once told me, fhe did affect me; and I have heard herself come thus near, that, fhould fhe fancy, it should be one of my complexion. Befides, fhe ufes me with a more exalted refpect, than any one else that follows her. What fhould I think on't? Sir To. Here's an over-weening rogue! Fab. O, peace! Contemplation makes a rare turkeycock of him; how he jets under his advanced plumes! Sir And. 'Slight, I could fo beat the rogue : Sir To. Peace, I fay. Mal. To be count Malvolio : Sir To. Ah, rogue! Sir And. Piftol him, pistol him. Sir To. Peace, peace. Mal. There is example for't; the lady of the ftrachy married the yeoman of the wardrobe. Sir 7 — horv be jets-] To jet is to ftrut, to agitate the body by a proud motion. So, in Arden of Feversham, 1592: "Is now become the steward of the house, "And bravely jets it in a filken gown." Again, in Buffy D'Ambois, 1607: 8 "To jer in others' plumes fo haughtily." STEEVENS. the lady of the trachy-] Here is an allufion to fome old story which I have not yet difcovered. JOHNSON. Perhaps a letter has been misplaced, and we ought to read-ftarchy; i. e. the room in which linen underwent the once moft complicated operation of farcbing. I do not know that fuch a word exifts; and yet it would not be unanalogically formed from the fubftantive arch. In Harfnett's Declaration, 1603, we meet with "a yeoman of the sprucery;" i. e. wardrobe; and in the Northumberland Houfebold Book, nursery is Spelt, Sir And. Fie on him, Jezebel! Fab. O, peace! now he's deeply in; look, how imagination blows him 8. Mal. Having been three months married to her, fitting in my ftate , Sir To. O for a stone-bow, to hit him in the eye! Mal. Calling my officers about me, in my branch'd velvet gown; having come from a day-bed', where I have left Olivia fleeping: Sir To. Fire and brimstone! Fab. O, peace, peace! Mal. And then to have the humour of ftate: and after a demure travel of regard, -telling them, I know my place, as I would they should do theirs,-to ask f omy kinsman Toby: Sir To. Bolts and fhackles! Fab. O, peace, peace, peace! now, now. fpelt, nurcy. Starchy, therefore, for ftarchery, may be admitted. In Romeo and Juliet, the place where pafte was made, is called the paftry. The lady who had the care of the linen, may be fignificantly oppofed to the yeoman, i. e. an inferior officer of the wardrobe. While the five different coloured ftarches were worn, such a term might have been current. In the year 1564, a Dutch woman profeffed to teach this art to our fair country-women. "Her ufual price (fays Stowe) was four or five pounds to teach them how to ftarch, and twenty fhillings how to feeth ftarch." The alteration was fuggefted to me by a typographical error in The World tofs'd at Tennis, 1620, by Middleton and Rowley; where ftraches is printed for ftarches. I cannot fairly be accufed of having dealt much in conjectural emendation, and therefore feel the lefs reluctance to hazard a guess on this defperate paffage. STEEVENS. The place in which candles were kept, was formerly called the chan dry; and in B. Jonfon's Bartholomew Fair, a ginger-bread woman is called lady of the basket. The great objection to this emendation is, that from the ftarchy to the wardrobe is not what Shakspeare calls a very heavy declenfion." In the old copy the word is printed in Italicks, as the name of a place,-Strachy. MALONE. 8 blows bim.] i. e. puffs him up. So, in Antony and Cleopatra: 66 on her breast "There is a vent of blood, and fomething blown." STEEVENS. my state,—] i. e. a fumptuous chair with a canopy over it. See Macbeth, Act III. fc. iv. " Our hoftefs keeps her fate." MALONE. 9-ftone-bow,] That is, a cross-bow, a bow which shoots stones. JOHNSON 1- from a day-bed,] i, e. a couch. MALONE. E 3 Mal. Mal. Seven of my people, with an obedient start, make out for him: I frown the while; and, perchance, wind up my watch, or play with my fome rich jewel; Toby approaches; court'fies there to me3: Sir To. Shall this fellow live? Fab. Though our filence be drawn from us with cars 4, yet peace. Mal. I extend my hand to him thus, quenching my familiar fmile with an auftere regard of control: Sir To. And does not Toby take you a blow o'the lips then? Mal. Saying, Coufin Toby, my fortunes baving caft me on your niece give me this prerogative of speech ; Sir To. What, what? Mal. You must amend your drunkenness, Sir To. Out, fcab! Fab. Nay, patience, or we break the finews of our plot. Mal. Befides, you waste the treasure of your time with a foolish knight; Sir And. That's me, I warrant you, Mal. One Sir Andrew: Sir And. I knew, 'twas I; for many do call me fool. wind up my watch,-] In our author's time watches were very uncommon. When Guy Faux was taken, it was urged as a circumftance of fufpicion that a watch was found upon him. JOHNSON. Again, in the Alchemist, 1610: And I had lent my watch laft night to one "That dines to-day at the fheriff's." STEEVENS. Pocket-watches were brought from Germany into England about the year 1580. MALONE. 3-court'fies there to me :] In a note on King Henry IV. P. I. I have obferved that the term to court'fie was applied to both fexes. So again, in our author's Rape of Lucrece: "The homely villain court'fies to her low-." MALONE. 4 Though our filence be drawn from us with cars,] In the Two Gentlemen of Verona, one of the Clowns fays, "I bave a mistress, but rubo that is, a team of horfes fhall not pluck from me." So, in this play: "Oxen and wainropes will not bring them together." JOHNSON, It may be worth remarking, perhaps, that the leading ideas of Malvolio, in his bumour of fate, bear a strong resemblance to thofe of Alnafchar in the Arabian Nights Entertainments. Some of the expres fions too are very fimilar. TYRWHITT. Mal. |