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Cannot office me from my son Coriolanus. Oh, my son, my son! thou art preparing fire.-Coriol., v. 2.

He uses some familiarly abbreviated forms in titles of relationship :I may quarter, coz ?-Merry W., i. 1.

Good-morrow, coz. . . . Help to dress me, good coz.-M. Ado, iii. 4.

I pray thee, Rosalind, sweet my coz, be merry.-As You L., i. 2.

No, coz, I rather weep.-R. & Jul., i. I.

Pare thy nails, dad.-Tw. N., iv. 2 (Song).

Since I first call'd my brother's father dad.-John, ii. 2.

Was wont to cheer his dad in mutinies ?-3 H. VI., i. 4.

He introduces some familiarly applied titles of relationship:

The wisest aunt, telling the saddest tale.-Mid. N. D., ii. 1.

Are summer songs for me and my aunts [See CANt Terms].—W. T., iv. 2 (Song). How now, nuncle! . . . Mark it, nuncle.-Lear, i. 4.

This familiar contraction of mine uncle' was the usual appellation of the professional fool for his employer and his superiors.

Shakespeare uses some facetious titles :

Bull Jove, sir, had an amiable low.-M. Ado, v. 4.
Coragio! bully-monster, coragio!—Temp., v. 1.

Bless thee, bully doctor.-Merry W., ii. 3.

Bully knight! bully Sir John!..

Let her descend, bully.-Ibid., iv. 5.

What say'st thou, bully Bottom ?—Mid. N. D., iii. 1.

I love the lovely bully.-H. V., iv. 1.

Come, captain, we must be neat; not neat, but cleanly, captain.-W. T., i. 2.
Hear ye, captain, are you not at leisure?-1 H. VI., v. 3.

Cavalero justice, I say! . . . Tell him, cavalero justice.-Merry W., ii. 1.

Master Page, and eke Cavalero Slender.-Ibid., ii. 3.

But to help Cavalery Cobweb to scratch.-Mid. N. D., iv. 1. Monsieur Cobweb, good monsieur, get your weapons. Mustard-seed?—Ibid., iv. 1.

Ha! the prince and Monsieur Love !—M. Ado, ii. 3.

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And in the following passage he uses a playfully coined title :

What her is this?-Why, Doctor She.-All's W., ii. 1.

In the following passages he uses a corrupted form of a title, and jocosely corrupted names :

Why, your dolphin [Dauphin] is not lustier.-Ibid., ii. 3.

Pucelle or puzzel, dolphin [Dauphin] or dog-fish.- -1 H. VI., i. 4.

Dolphin [Dauphin] my boy, my boy, sessa !-Lear, iii. 4.

Twopence a-piece of Yead [Ned] Miller.-Merry W., i. 1.

Hear ye, Yedward [Edward]; if I tarry at home.-
.—1 H. IV., i. 2.

He occasionally uses the titles derived from avocations, which were customary in his time :

Sot, didst see Dick Surgeon, sot?-Tw. N., v. 1.

Turned upside down since Robin Ostler died.-1 H. IV., ii. 1.

What's to do here, Thomas Tapster?-M. for M., i. 2.

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Yea, marry, William cook, bid him come hither. . . . But for William cook are there no young pigeons?-2 H. IV., v. 1.

Twopence a-piece of Yead Miller, by these gloves.-Merry W., i. 1.

He has more than one allusion to the custom that prevailed formerly of servants assuming their employers' names. :—

Hear me call Margaret, Hero.-M. Ado, ii. 2.

I have to-night wooed Margaret, the Lady Hero's gentlewoman, by the name of Hero. -Ibid., iii. 3.

Good even, Varro: what! . . . and yours too, Isidore ?—Timon, ii. 2.

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He has used several familiar titles :

Goodman Verges, sir, speaks a little off the matter.-M. Ado, iii. 5.
Via, goodman Dull! thou hast spoken no.-Love's L. L., v. I.
Since the old days of goodman Adam to the.-1 H. IV., ii. 4.
I think he be, but goodman Puff of Barson.—2 H. IV., v. 3.
Did not goodwife Keech, the butcher's wife.-Ibid., ii. 1.
What, ho, gossip Ford! what, ho!-Merry W., iv. 2.

Come in then, and call me gossip Quickly.—2 H. IV., ii. 1.

Give them their charge, neighbour Dogberry. . . . Come hither, neighbour Seacoal. -M. Ado, iii. 3.

Come, neighbour Mugs, we'll call up the gentlemen.— 1 H. IV., ii. 1.

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He has introduced some titles of imaginary and typical personages:

By Sir Smile, his neighbour.-W. T., i. 2.

This might be my lord such-a-one, that praised my lord such-a-one's horse . . . e'en so, and now my Lady Worm's.—Hamlet, v. 1.

When Signior Sooth here does proclaim.—Per., i. 2.

He sometimes appends "sir" to a title in stern address:—

Come, sir boy, come, follow me; sir boy, I'll.—M. Ado, v. 1.

Stay, sir king: this man is better than.-Cym., v. 5.

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He sometimes uses "Love" for the queen of love,'' Venus' [See PECULIAR USE OF WORDS for other instances]:

That your Dian was both herself and love.*—All's W., i. 3.
For the love of Love and her soft hours.-Ant. & C., i. 1.

Sometimes, in accordance with a usage of his time, he employs "lover" as a term for 'friend,' said by men to each other [See APPRECIATION OF FRIENDSHIP, &c.]:—

Farewell, my lord: I as your lover speak.—Tr. & Cr., iii. 3.

The mighty gods defend thee! Thy lover, Artemidorus.-Jul. C., ii. 3 (Letter). Romans, countrymen, and lovers! hear me for.—Ibid., iii. 2.

That we may, lovers in peace, lead on.-Ibid., v. 1.

He sometimes, also in accordance with a usage of his time, applies the term "lover" to a woman as well as to a man:

Your brother and his lover have embraced.-M. for M.,

Most like a noble lord in love, and one
That had a royal lover.-Cym., v. 5.

i. 5.

In this passage the word "love" means 'love itself' as well as the queen of love. Venus.'

UNFINISHED SENTENCES.

Shakespeare, in his skill as a dramatist, knew the full value of introducing upon occasion an unfinished sentence: sometimes broken off by the speaker's self-interruption to imply something left unsaid, to imply an inuendo or a threat, to imply some interposed gesture or action, or to imply agitation and incapacity of expression; sometimes broken off by interruption from an interlocutor, or by other speakers; sometimes interrupted by a sudden entrance; sometimes even interrupted by death itself, when utterance is checked by departing breath, and the speaker expires leaving his sentence unended. In the Folio, these unfinished sentences are generally indicated by a dash (that is, a long line or a line composed of short hyphen-marks, thus ); but, in several cases, are so imperfectly indicated (by a full stop, by a comma, by no stop at all, or even by a blank space) that it is difficult to decide whether an interrupted sentence is really intended by the dramatist, or whether the printer may not have made a blunder, and even (in the last-mentioned case) have left the passage incompletely given. However, in the majority of instances, the context of the passage resolves the difficulty; and the dramatist's intention is manifest. First, then, for the passages of self-interruption :

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Trinculo, keep a good tongue in your head: if you prove a mutineer, the next tree-Temp., iii. 2.

It is so, indeed; he is no less than a stuffed man: but for the stuffing,—well, we are all mortal-M. Ado, i. 1.

What! I am not bestraught: here's-Tam. of S., Induc. 2.

The Folio concludes the above speech with a line or dash; and we believe it to denote that Sly breaks off his speech with a nod of the head, and a half-uttered here's to your health,' as he drinks the proffered wine.

I'll have no more pity of his age, than I would have of—I'll beat him an if I could but meet him again !-All's W., ii. 3.

Would I were dead, but that, methinks already

What was he, that did make it? See, my lord,

Would you not deem it breath'd? and that those veins
Did verily bear blood?-W. T., v. 3.

Because the Folio prints the above passage with a full stop after "already" instead of a dash, there have not been wanting critics who have supposed the line to be one which was originally followed by another, omitted by the printer; whereas we feel it to be precisely one of those abrupt breaks in a passionate speech, which our Shakespeare knew to be full of eloquent implication. The whole of the context shows the speaker to be impressed with the conviction that what he looks upon moves, breathes, exists; and we take the imperfectly expressed sentence: Would I were dead with her, but that methinks already she moves and breathes, and lives again to me!'

He writes me here that inward sickness,-
And that his friends by deputation could not
So soon be drawn.-1 H. IV., iv. 1.

In the above passage, the Folio merely puts a comma after "sickness"; but who does not feel that it is Hotspur's characteristic way of breaking off a phrase, and leaving its completion to be understood by the listener ?

I cannot speak; if my heart be not ready to burst, well, sweet Jack, have a care of thyself.-2 H. IV., ii. 4.

Well, fare thee well: I have known thee these twenty-nine years, come peascodtime; but an honester and truer-hearted man,-well, fare thee well.-Ibid., ii. 4.

Thou shalt not die, whiles

He beckons with his hand, and smiles on me.-1 H. VI., i. 4

I dare presume, sweet prince, he thought no harm.—

An if I wist he did,-but let it rest.—Ibid., iv. 1.

Hard to seem won: but I was won, my lord,

With the first glance that ever-pardon me,

4.

If I confess much, you will play the tyrant.-Tr. & Cr., iii. 2.

The Folio misprints 'glance; that ever pardon me!' But thoroughly characteristic of the coquettish Cressida is that affected sudden pause in her speech; half pretendedly modest, half calculating, in its selfcheck. True Shakespeare! even in his delineation of an untrue woman!

Five tribunes to defend their vulgar wisdoms,
Of their own choice: one's Junius Brutus,
Sicinius Velutus, and I know not-'Sdeath!
The rabble should have first unroof'd the city,
Ere so prevail'd with me.-Coriol., i. I.

Though the Folio puts a full stop after "and I know not," it is obviously a sentence broken off by the speaker's haughty petulance.

You shames of Rome! you herd of Boils and plagues
Plaster you o'er; that you may be abhorr'd
Farther than seen, and one infect another

Against the wind a mile!—Ibid., i. 4.

The Folio misprints thus, 'you Heard of Byles and Plagues;' depriving the passage of meaning, and of the characteristically impetuous break in Marcius's speech.

An 'twere to give again,-but 'tis no matter.-Ibid., ii. 3.

He had, sir, a kind of face, methought,—I cannot tell how to term it.—Ibid., iv. 5. He had so; looking as it were,-Would I were hanged, but I thought there was more in him than I could think.—Ibid., iv. 5.

Well said, my hearts! you are a princox; go:

Be quiet, or-]

-More light, more light!-R. & Jul., i. 5.
I am sick at heart,

When I behold-Seyton, I say!—Macb., v. 3.

I am sorry,

What, have you given him any hard words of late?—Hamlet, ii. 1.

Ay, sir, but "while the grass grows," the proverb is something musty.—Ibid., iii. 2. So please you,-[Exit.]—Lear, i. 4.

In the above passage, the steward Oswald leaves his sentence unfinished, and abruptly goes from the old king's presence, purposely to manifest negligence and disrespect, in accordance with Goneril's orders.

Fiery? the fiery duke? Tell the hot duke, that—
No, but not yet: may be, he is not well.-Ibid., ii. 4.

Thy sister's naught: O Regan, she hath tied
Sharp-tooth'd unkindness, like a vulture here-
I can scarce speak to thee; thou 'lt not believe
With how deprav'd a quality—O Regan !-Lear, ii. 4.
Give ear, sir, to my sister;

For those that mingle reason with your passion,
Must be content to think you old, and so-

But she knows what she does.-Ibid., ii. 4.

[Points to his heart.

Your old kind father, whose frank heart gave all,-
O, that way madness lies; let me shun that.—Ibid., iii. 4.
You houseless poverty,-

In, boy; go first.

Nay, get thee in.

I'll pray, and then I'll sleep.—Ibid., iii. 4.

Why should she write to Edmund? might not you
Transport her purposes by word? Belike,

Something-I know not what: I'll love thee much;
Let me unseal the letter.-Ibid., iv. 5.

She that, so young, could give out such a seeming,

To seel her father's eyes up close as oak,

He thought 'twas witchcraft:-but I am much to blame. -Oth., iii. 3.

Put out the light, and then-Put out the light!

If I quench thee, thou flaming minister,

I can again thy former light restore,
Should I repent me.-Ibid., v. 2.

Although the Folio prints "then" without any stop or dash after it, we think there is every reason to believe that the dramatist intended an unfinished sentence here; Othello interrupting himself in saying he will put out the light, and then proceed to the fulfilment of his purposed vengeance, by the reflections suggested by his own words, "Put out the light"; which he repeats and descants upon as applying to his own intended deed.

Where is thy lady? or, by Jupiter

I will not ask again. Close villain,

I'll have this secret from thy heart, or rip
Thy heart to find it.-Cym., iii. 5.

Next, for the passages where the speaker is interrupted by some other speaker or speakers :

Dogberry. Come, let them be opinioned.
Verges. Let them be in the hands-

Conrade. Off, coxcomb!-M. Ado, iv. 2.

The Folio misprints this as all one speech ('Let them be in the hands of Coxcombe '), and assigns it to the Sexton: whereas, "Let them be in the hands" is evidently a portion of an order given by Verges in confirmation of Dogberry's previous one, "Let them be opinioned," because both Verges and Dogberry are spoken of elsewhere in the play as officers of the watch; and " Off, coxcomb!" is obviously spoken by one of the delinquents, because Dogberry immediately afterwards says, "Let him write down-the prince's officer, coxcomb."

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Gremio. Hark you, sir: you mean not her to—

Tranio. Perhaps, him and her, sir; what have you to do?-Tam. of S., i. 2.

Parolles. Hadst thou not the privilege of antiquity upon thee,

Lafeu. Do not plunge thyself too far in anger.-All's W., ii. 3.

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