,,And made hym all the onely meanes
To sue for his redresse,

,,And to entreate for grace to her
,,That caused his distresse,

,,She whan as first she saw his page
,,Was straight with hym in love,
,,That nothynge coulde Valerius face
,,From Claudia's mynde remove.
,,By hym was Faustus often harde,
,,By hym his sutes toke place,
,,By hym he often dyd aspyre
,,To se his Ladyes face.

,,This passed well, tyll at the length
,,Valerius sore did sewe,

,,With many teares besechynge her
,,His mayster's gryefe, to rewe.
,,And tolde her that yf she.wolde not
,,Release his master's payne,

,,He never wolde attempte her more.
,,Nor se her ones agayne,“ etc.

Thus also concludes the first scene of the third act of the Play before us:

,,And so adieu, good Madam; never more ,,Will I my master's tears to you deplore,“ etc.

I offer no apology for the length of the foregoing extract, the book from which it is taken, being so uncommon, that only one copy, except that in my own possession, has hitherto occurred. Even Dr. Farmer, the late Rev. T. Warton, Mr. Reed, and Mr. Malone, were unacquainted with this Collection of Googe's Poetry.

August 6, 1607, a Comedy called What you Will (which is the second title of this play), was entered at Stationers' Hall by Tho. Thorpe. I believe, however, it was Marston's play with

ess,

that name. Ben Jonson, who takes every opportunity to find fault with Shakspeare, seems to ridicule the conduct of Twelfth Night in his Every man out of his Humour, at the end of Act 11. sc. vi. where he makes Mitis say,,,That the argument of his comedy might have been of some other nature, as of a Duke to be in love with a Count and that Countess to be in love with the Duke's son, and the son in love with the lady's waiting maid: some such cross wooing, with a clown to their serving man, better than be thus near and familiarly allied to the time." STEEVENS. I suppose this comedy to have been written in 1614. If however the foregoing passage was levelled at Twelfth Night, my speculation falls to the ground. See An Attempt to ascertain the order of Shakspeare's plays. MALONE.* Page 2, line 8.

the sweet south,] The old sweet sound, which Mr. Rowe changed into wind, and Mr. Pope into south.

copy reads

STEEVENS.

I see no reason for disturbing the text of the old copy, which reads Sound. The wind, from whatever quarter, would produce a sound in breathing on the violets, or else the simile is false. Besides, sound is a better relative to the antecedent, strain. DovCE.

P. 2, 1. 15. Validity is here used for value. MALONE.

P. 2, 1. 18. High-fantastical, means fantastical to the height.

STEEVENS.

P. 2, 1. 26. 27. And my desires, like fell and.. cruel hounds,

L'ér since pursue me.

This image evidently alludes to the story of Acteon, by which....Shakspeare seems to think men cautioned against too!

great familiarity with forbidden beauty. Acteon, who saw Diàna naked, and was torn to pieces by his hounds, represents a man, who indulging his eyes, or his imagination, with the view of a woman that he cannot gain, has his heart torn with incessant longing. An interpretation far more elegant and natural than that of Sir Francis Bacon, who, in his Wisdom of the Ancients, supposes this story to warn us against enquiring into the secrets of Princes by shewing, that those who know that which for reasons of state is to be concealed, will be detected and destroyed by their own servants. JOHNSON,

P. 3, 1. 4. Heat for heated. The air, till it shall have been warmed by seven revolutions of the sun, shall not, etc. MALONE.

P. 3, 1. 16.

the flock of all affections

So, in Sidney's Arcadia: unspeakable virtues.“ STEEVENS."

has the flock of

P. 3, 1. 18. These sovereign_ thrones,] We should read three sovereign thrones. This is exactly in the manner of Shakspeare. So, after wards, in this play, Thy tongue, thy face, thy limbs, actions, and spirit, do give thee fivefold blazon. WARBURTON.

P. 5, 1. 17-19. Liver, brain, and heart, are admitted in poetry as the residence of pàssions, ́ judgment, and sentiments. These are what Shakspeare calts, her sweet perfections, though he has not very clearly expressed what he might design to have said. STEEVENS. **

P. 3, 1. 19. Self-King means self-same King; one and the same King. MALONE.

P. 3, 1. 29. There is seemingly a play upon the words Illyria and Elysium.

DOUCE.

this poor number. sailors who were

P. 4, 1. 6. — and that poor number sav'd with you,] We should rather read The old copy has those. The saved, enter with the captain. MALONE. P. 4, 1. 21. A noble Duke in nature, name.] I know not whether the nobility of the name is comprised in Duke, or in Orsino, which is, I think, the name of a great Italian family. JOHNSON.

P. 5, 1. 3. and fol.

Vio. O, that I serv'd that lady;

as in

And might not be deliver'd to the world, Till I had made mine own occasion mellow, What my estate is!] I wish I might not be made public to the world, with regard to the state of my birth and fortune, till I have gained a ripe opportunity for my design.

Viola seems to have formed a very deep design with very little premeditation: she is thrown by shipwreck on an unknown coast, hears that the Prince is a bachelor, and resolves to supplant the lady whom he courts. JOHNSON.

P. 5. 1. 18. I'll serve this Duke!] Viola is an excellent schemer, never at a loss; if she can not serve the lady, she will serve the Duke.

JOHNSON./ P. 5, 1. 19. Thou shalt present me as an eunuch to him,] This plan of Viola's was not pursued, as it would have been inconsistent with the plot of the play, She was presented to the Duke as a page, but not as a eunuch.

M. MASON. The use of Evirati, in the same manner as at present, seems to have been well known at the time this play was written, about 1600.

BURNEY.

When the practice of castration (which origi nated certainly in the east) was first adopted, solely for the purpose of improving the voice, I have not been able to learn. The first regular opera, as Dr. Burney observes to me, was perform ed at Florence in 1600: „till about 1635, musi: cal dramas were only performed occasionally in the palaces of Princes, and consequently before that time eunuchs could not abound. The first eunuch that was suffered to sing in the Pope's chapel, wes in the year 1600."

So early, however, as 1604, eunuchs are men. tioned by Marston, one of our poets contempora ries, as excelling in singing. MALONE.

P. 5, 1. 22. To allow is to approve.

STEEVENS.

P. 6, 1. 4. Why, let her except before excepced.] A ludicrous use of the formal law phrase..

FARMER.

P. 6, 1. 17. Tall means stout, courageous.

STEEVENS.

P. 6, 1. 25. The viol-de-gambo seems, in our author's time, to have been a very fashionable instrument. COLLINS.

In the old dramatic writers, frequent mention is made of a case of viols, consisting of a viol de-gambo, the tenor and the treble.

See Sir John Hawkins's Hist. of Musick, Vol. IV. p. 32, n. 338, wherein is a description of a case more properly termed a chest of viols.

STEEVENS.

P. 6, 1. 26. He hath, indeed, almost natural:] Mr. Upton proposes to regulate this passage differently:

He hath indeed, all, most natural, MALONE.

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