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of ink if thou thou'ft him thrice, it shall not be amiss; and as many lies as will lye on thy sheet of paper, although the fheet was big enough for the bed of Ware in England, fet 'em down; go, about it. Let there be gall enough in thy ink; though thou write with a goofe pen, no matter: about it.

SCENE IV. Bullying, its Advantages.

Go, Sir Andrew, fcout me for him at the corner of the orchard, like a bum-bailiff: fo foon as ever thou fee'ft him, draw; and, as thou draw'ft, fwear hor ribly; for it comes to pass oft, that a terrible oath, with a fwaggering accent fharply twang'd off, gives manhood more approbation than ever proof itself would have earn'd him.

Ant. Is 't poffible,

Ingratitude.

that my deferts to you Can lack perfuafion? Do not tempt my mifery, Left that it make me fo unfound a man,

As to upbraid you with those kindneffes
That I have done for you.

Vio. I know of none,

Nor know I you by voice, or any feature :
I hate ingratitude more in a man,

Than lying, vainness, babbling, drunkenness,
Or any taint of vice, whofe ftrong corruption
Inhabits our frail blood.

Deformity

thon write it with a goofe pen, no matter. A keener lash at the attorney for a fool, than all the contumelies the attorney threw at the prifoner, as a fuppofed traitor. Theobald.

Deformity in the Mind.

Ant. But, O, how vile an idol proves this god!Thou haft, (23) Sebaftion, done good feature fhame. In nature there's no blemish but the mind: None can be call'd deformed, but the unkind: Virtue is beauty; but the beauteous evil Are empty trunks, o'er flourish'd by the devil.

A CT IV,

SCENE I.

Money purchafes the Praise of Fools.

These wife men, that give fools money, get themfelves a good report, after fourteen years (24) purchafe.

SCENE II. Diffimulation in a religious Habit.

Well, I'll put it on, and I will diffemble myfelf in 't; and I would I were the firft that ever diffembled in fuch a gown. I am not tall enough to become the function well; nor lean enough to be thought a good

student;

(23) Thou haft, &c.] Similar to this, is a paffage from a modern dramatic poem, called Socrates.

"Beauty and virtue are the fame,
They differ only in the name.
What to the foul is pure and bright
Is beauty in a moral light;

And what to fenfe does charms convey,

Is beauty in the natural way.

Each from one fource its effence draws,

And both conform to nature's laws."

(24) After fourteen years, &c.] This feems to carry a piece of fatire on the monopolies, the crying grievance of that time. The grants generally were for fourteen years. The petition being referred to a committee, it was fufpected that money gained favourable reports from thence. Warburton.

fudent; but to be faid, an honeft man, and a good houfekeeper, goes as fairly as to fay, a graceful man (25) and a great scholar.

Satire on Time-ferving Worldlings.

Fie, thou dishonest Sathan! I call thee by the most modeft terms: for I am one of thofe gentle ones, that will ufe the devil himself with courtesy.

ACT V.

SCENE I.

Advantage to be gained by Foes.

Clo. Truly, Sir, the better for my foes, the worse friends.

for my

Duke. Juft the contrary; the better for thy friends..
Clo. No, Sir, the worse.

1

Duke. How can that be?:

Clo. Marry, Sir, they praife me, and make an afs of me; now my foes tell me plainly, I am an afs; fo that by my foes, Sir, I profit in the knowledge of myfelf; and by my friends I am abufed: fo that, conclufions to be (26) as kiffes if your four negatives make your two affirmatives, why, then the worfe for my friends, and the better for

my

foes.

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Ignorance

(25) Graceful man.] This is commonly read careful man. But St. obferves, that it refers to what went before, I am not tall enough to become the function well, nor ban enough to be thought a good ftudent; it is plain then that S. wrote as to fay a GRACEFUL man, i. e. comely.

(26) Conclufions to be, &c.] W. would read this, fo that conclufion to be afk'd but 7. is for retaining the present reading, the meaning of which, fays he, is," the conclufion follows by the conjunction of two negatives, which, by kiffing and embracing, coalefce into one, and make an affirmative. What the four negatives are I do not know. I read, So that conclufions be as kifles. One cannot but wonder,

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Ignorance of ourselves :-One Drunkard's Reflection on another.

Then he's a rogue, and a paft-measure pavin;(27) I hate a drunken rogue.

wonder, fays Farmer, that this paffage fhould have perplexed the commentators. In Marloe's Luft's Dominion, the Queen fays to the Moor,

Moor.

"Come let's kiffe."

"Away, away.”

Queen. "No, no, fays I; and twice away, fays ftay." Sir Philip Sedley has enlarged upon this thought in the fixty-third stanza of Afrophel and Stella.

(27) Paft-meafure pavin.] This is the reading of the old copy; and probably right, being an allufion to the quick measure of the pavin, a dance in S's time.

A pally measure pavin may perhaps mean a pavin danced out of time. Sir Toby might call him 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. Such however is the reading of the old copy, though the v in pavin being reverfed, the modern editors have been con tent to read,

-And a post measure painim.

It is a fine stroke of nature to make the drunken Sir Toby rail at drunkenness.

Occafional Obfervations.

One of BELLFOREST's novels is thus entitled :Comme une fille Romaine fe veftant en page fervift long temps un fien amy fans eftre cogneue, at depius l'eut a mary avec autres divers difcours: Hiftoires tragiques; Tom. 4. Hift. 7." This novel, which is itself taken from one of BANDELLO's (v. Tom. 2. Nov. 36) is, to all appearance the foundation of the ferious part of Twelfth Night, and must be fo accounted; till fome English novel appears, built (perhaps) upon that French one, but approaching nearer to S's comedy. Says Capell.

This play is in the graver part elegant and easy, and in fome of the lighter fcenes exquifitely humorous. AgueCheek is drawn with much propriety, but his character is, in a great measure, that of natural fatuity, and is therefore not the proper prey of a fatirift. The foliloquy of Malvolio is truly comic; he is betrayed to ridicule merely by his pride. The marriage of Olivia, and the fucceeding perplexity, though well enough contrived to divert on the stage, wants credibility, and fails to produce the proper instruction required in the drama, as it exhibits no just picture of life. J.

# See A& 2,

Two

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