tapestry, where his cod-piece feems as maffy as his club. Conr. All this I fee; and fee, that the fafhion wears out more apparel than the man: But art not thou thyself giddy with the fashion too, that thou haft shifted out of thy tale into telling me of the fashion ? Bora. Not fo neither: but know, that I have tonight wooed Margaret, the lady Hero's gentlewoman, by the name of Hero; fhe leans me out at her miftrefs's chamber-window, bids me a thousand times good night—I tell this tale vilely:-I should firft tell thee, how the prince, Claudio, and my master, planted and placed, and poffeffed by my mafter Don John, faw afar off in the orchard this amiable encounter, barbarous workmanship of the common tapestry hangings, then fo much in ufe. The fame kind of raillery Cervantes has employed on the like occafion, when he brings his knight and 'fquire to an inn, where they found the ftory of Dido and Æneas represented in bad tapestry. On Sancho's feeing the tears fall from the eyes of the forfaken queen as big as walnuts, he hopes that when their atchievements became the general fubject for thefe fort of works, that fortune will fend them a better artist.- What authorised the poet to give this name to Samfon was the folly of certain Chriftian mythologifts, who pretend that the Grecian Hercules was the Jewish Samfon. The retenue of our author is to be commended: The fober audience of that time would have been offended with the mention of a venerable name on fo light an occafion. Shakespeare is indeed fometimes licentious in thefe matters: But to do him juftice, he generally feems to have a fenfe of religion, and to be under its influence. What Pedro fays of Benedick, in this comedy, may be well enough applied to him. The man doth fear God, bowever it seems not to be in him by fome large jefts he will make. WARBURTON. I believe that Shakespeare knew nothing of thefe chriftian mythologifts, and by the faven Hercules meant only Hercules aben fhaved to make him look like a woman, while he remained in the fervice of Omphale, his Lydian mistrefs. Had the shaven Hercules · been meant to reprefent Samfon, he would probably have been equipped with a jaw-bone instead of a club. STEEVENS, Conr Conr. And thought they, Margaret was Hero? Bora. Two of them did, the prince and Claudio; but the devil my mafter knew he was Margaret; and partly by his oaths, which firft poffefs'd them, partly by the dark night, which did deceive them, but chiefly by my villainy, which did confirm any flander that Don John had made, away went Claudio enraged; fwore, he would meet her, as he was appointed, next morning at the temple, and there before the whole congregation fhame her with what he faw o'er night, and fend her home again without a hufband. 1 Watch. We charge you in the prince's name, ftand. 2 Watch. Call up the right master constable: We have here recovered the most dangerous piece of lechery that ever was known in the commonwealth. I Watch. And one Deformed is one of them; I know him, he wears a lock. Conr. Masters, mafters,' 2 Watch. You'll be made bring Deformed forth, I warrant you. Conr. Mafters, I Watch. Never speak; we charge you, let us obey you to go with us. Conr. Mallers, maflers, &c.] In former copies : you. Conr. Mafters, mafters, 2 Watch. You'll be made bring Deformed forth, I warrant Conr. Mafters, never speak, we charge you, let us obey you to go with us. The regulation which I have made in this laft fpeech, though against the authority of all the printed copies, 1 flatter myself, carries its proof with it. Conrade and Borachio are not defigned to talk abfurd nonfenfe. It is evident therefore, that Conrade is attempting his own juftification; but is interrupted in it by the impertinence of the men in office. THEOBALD. Bora. Bora. We are like to prove a goodly commodity, being taken up of these mens bills. Conr. A commodity in question, I warrant you, Come, we'll obey you. SCENE IV. An Apartment in Leonato's Houfe. Enter Hero, Margaret, and Urfula. [Exeunt. Hero. Good Urfula, wake my cousin Beatrice, and defire her to rise. Urf. I will, lady. Hero. And bid her come hither. Urf. Well. [Exit Urfula. Marg. Troth, I think, your other rabato were better. Hero. No, pray thee, good Meg, I'll wear this. Marg. By my troth, it's not fo good; and I warrant, your cousin will fay fo. Hero. My coufin's a fool, and thou art another ; I'll wear none but this. Marg. I like the new tire within excellently, if the hair were a thought browner; and your gown's a moft rare fashion, i'faith. I faw the dutchefs of Milan's gown, that they praise fo. 2 rabato] A neckband; a ruff. Rabat, French. HANMER. This article of drefs is frequently mentioned by our ancient comic writers. So in Every Woman in her Humour, 1609." The tyre, "the rabato, the loose-bodied gown, &c." Again, in the comedy of Law Tricks, &c. 1608. "Broke broad jefts upon her narrow heel, "Pok'd her rabatos, and furvay'd her steel." Again, in Decker's Satiromatix, 1602.-" He would perfuade me that love was a rabato, and his reafon was, that a rabats "was worn out with pinning, &c." The laft but one of thefe paffages will likewife ferve for an additional explanation of the poking-flicks of freel, mentioned in the Winter's Tale, STEEVENS. Hero. Hero. O, that exceeds, they fay. Marg. By my troth, it's but a night-gown in refpect of yours: Cloth of gold and cuts, and lac'd with filver, fet with pearls, down-fleeves, fide-fleeves, and skirts round, underborne with a blueifh tinfel: but for a fine, quaint, graceful and excellent fashion, yours is worth ten on't. Hero. God give me joy to wear it, for my heart is exceeding heavy! Marg. 'Twill be heavier foon, by the weight of a man. Hero. Fie upon thee! art not afham'd? I Marg. Of what, madam? of fpeaking honourably? Is not marriage honourable in a beggar? Is not your lord honourable without marriage? think, you would have me fay, (faving your reverence) a husband. An bad thinking do not wrest true fpeaking, I'll offend no body: Is there any harm in-the heavier for a husband? None, I think, an it be the right husband, and the right wife; otherwise 'tis light and not heavy: Afk my lady Beatrice else, here he comes. Enter Beatrice. Hero. Good morrow, coz. Beat. Good morrow, fweet Hero. Hero. Why, how now! do you speak in the fick tune? Beat. I am out of all other tune, methinks. Marg. Clap us into Light o' love; that goes without 3 Light o' love;] A tune fo called, which has been already mentioned by our authour. JOHNSON. This tune is mentioned in Beaumont and Fletcher's Two Noble Kinsmen. The gaoler's daughter, fpeaking of a horse, fays, "He gallops to the tune of Light' love,” · VOL. II. It without a burden; do you fing it, and I'll dance it. Beat. Yes, Light o' love with your heels! then if your husband have ftables enough, you'll look he fhall lack no barns. 4 Marg. O illegitimate conftruction! I fcorn that with my heels. Beat. 'Tis almost five o'clock, coufin; 'tis time you were ready. By my troth, I am exceeding illhey ho! Marg. For a hawk, a horse, or a husband? Beat. For the letter that begins them all, H. Marg. Well, if you be not turn'd Turk, there's no more failing by the star. It is mentioned again in the Two Gentlemen of Verona ; "Beft fing it to the tune of Light o' love.” And in the Noble Gentleman, of Beaumont and Fletcher. Beat. STEEVEKS. 4 no barns.] A quibble between barns, repofitories of corn, and bairns, the old word for children. JOHNSON, 5 For the letter that begins them all, H.] This is a poor jeft, fomewhat obfcured, and not worth the trouble of elucidation. Margaret afks Beatrice for what fhe cries, bey bo; Beatrice an fwers, for an H, that is, for an ache or pain. JOHNSON. Heywood, among his Epigrams, published in 1562, has one on the letter H. "His worst among letters in the cross-row ; "In thine head, or teeth, or toe, or knee; turn'd Turk,]i. e. taken captive by love, and turned a renegado to his religion. WARBURTON. This interpretation is fomewhat far-fetched, yet, perhaps, it is right. JOHNSON. Hamlet ufes the fame expreffion, and talks of his fortune's turning Tark. To turn Turk was a common phrase for a change of former |