The folio has "them."-Corrected in the third folio.

Walker (Crit. Exam, &c. vol. iii. p. 70) proposes ❝ tame her too;" which, in all probability, the poet wrote.

Was altered by Theobald to “An ancient engle [or enghle]:" but the original text is quite right. Cotgrave has " Angelot à la grosse escaille. An old Angell; and by metaphor, a fellow of th' old, sound, honest, and worthie stamp,”—a quotation which I brought forward in my Few Notes, &c. p. 71, not knowing that it had been already adduced by Mr. Singer in his Shakespeare, 1826; where he observes that the "ancient angel" of our text is the "good soul” of Gascoigne's Supposes, from which this part of The Taming of the Shrew is taken. Mr. Collier (who now, in the sec. edition of his Shakespeare, prints "An ancient ambler"-one of his Ms. Corrector's very worst "shots") remarks; "The notion of Mr. Dyce that 'ancient angel' means 'simply an old worthy,' savours a little too much of simplicity to merit serious advocacy, much less, refutation." Yet the "notion," which Mr. Collier treats with such ineffable contempt, has met with the full approbation of Mr. Staunton (who compares "This ancient morsel" in The Tempest, act ii. sc. 1) and of Mr. Grant White.

P. 157. (127)

"In gait and countenance surely like a father." Warburton's explanation is; "I know not what he is; however, this is certain, he has the gait and countenance of a fatherly man."-The second folio reads"-- surly like a father;" which Theobald supports by what Tranio says to the Pedant, p. 164;

""Tis well; and hold your own, in any case,

P. 157. (128)

With such austerity as 'longeth to a father."

"Tranio ?"

"Dele' Tranio,' as originating in the following' Tra.'" Walker's Crit. Exam. &c. vol. iii. p. 70.

"The editor of the second folio arbitrarily reads ' phlegmatick.' "MALONE. 'Though I have not displaced the oldest reading, that of the second folio may be right. It prevents the repetition of 'cholerick,' and preserves its meaning," &c. STEEVENS.

Hanmer prints “the mustard e'en without;" Capell, “ the mustard now without."

P. 161. (134) "Hab.”

66

The folio has “Fel.,"-" possibly," says Mr. Collier, "the beginning of the actor's name, not now known, or more likely the first letters of Fellow, a word commonly applied to players." The first of these suggestions is by far the most probable.

'O monstrous arrogance! thou liest, thou thimble.'

He calls him afterwards 'a skein of thread," RITSON.

P. 163. (137) '[Exeunt Tailor and Haberdasher." Mr. Collier remarks ad l.; "The exit of the Haberdasher is not mentioned in any edition. He had perhaps stood trembling by, after producing his cap:" and certainly, awkward as this may be, there is nothing in the dialogue of the scene which warrants our dismissing him sooner. (In the old Taming of a Shrew, though the exit of the Haberdasher is not marked, he is of course intended to quit the stage when, just before the Tailor enters with the gown, Ferando says,

"Why true he meanes to make a foole of thee

P. 164. (138)

To haue thee put on such a curtald cappe,

Sirra begon with it.")

"peereth"

For this (the reading of the folio) Mr. Grant White substitutes " 'peareth,”— very improperly, I think.

So Hanmer, and Walker (Crit. Exam. &c. vol. ii. p. 143).—The folio has only "I."

P. 164. (141) "Where we were lodgers at the Pegasus."

Given to Tranio in the folio.

"Qu. ' as 'longs t' a father'." Walker's Crit. Exam, &c. vol. iii. p. 70.

P. 165. (143)

Added in the second folio.

"sir,”

P. 165. (144)

"find most ready and most willing"

So the second folio.-The first folio has merely "finde readie and willing.”

Hanmer inserted "fully." (Steevens compares, "Nathaniel's coat, sir, was not fully made," p. 152.)

The folio has "knows ;" an error which, we can hardly doubt, had its origin in the "know" at the end of the third line after this.—I adopt the reading of Mr. Collier's Ms. Corrector.

In some copies of the folio this "Welcome" looks like "We come," the impression of the 7 being scarcely visible: but in other copies the word is entire enough.-Here Capell prints

"Come, sir; one mess is like to be your cheer;

We'll better it in Pisa :"

concerning which alteration he writes thus nebulously in his Notes, &c.,

vol. ii. P. iv. p. 41; "At that line's head stands in all former copies the word Welcome, and what supply it in this copy are fetch'd from the line beneath : the word dismiss'd is impertinent, these proper; nor can both be retain❜d without hurt to measure."

P. 167. (150)

“I cannot tell, except, while they are busied about a counterfeit assurance, take you assurance of her, cum privilegio ad imprimendum solum: to the church; take the priest, clerk, and some sufficient-honest witnesses:"

The folio has "I cannot tell, expect they are busied," &c.—The editor of the second folio altered "expect" to "except."-Capell inserted "while;" and so too Mr. Collier's Ms. Corrector.

Mr. W. N. Lettsom would read and point the passage thus; "I cannot tell, except, while they are busied about a counterfeit assurance, you take assurance of her (cum privilegio ad imprimendum solum) to the church, with the priest, clerk, and some sufficient-honest witnesses." He remarks on it as follows; "I take for granted that 'expect is corrupt, as nobody has given a tolerable explanation of it. Imperatives seem to be out of place here. Biondello is telling Lucentio what is to happen. The phrase 'I cannot tell, excepť appears to be a sort of assertion. Compare Macbeth, act i. sc. 2, Except they meant to bathe in reeking wounds, &c., I cannot tell,' i. e. 'Surely, positively they meant,' &c. Here we might render the phrase, 'Why, of course, while they are busied, &c., you,' &c. The expression, 'take assurance of her to the church,' may seem harsh to some; but it is only a shorter and more compact way of writing than 'take assurance of her, and go to the church with her.' Even now we say, 'Take charge of this parcel to London,' for "Take charge of this parcel, and go to London with it.' The second 'take' is evidently a corrupt repetition of the first."

Capell's conjecture; and so Mr. Collier's Ms. Corrector; which is clearly right,-Petruchio calling out to an attendant.-The folio has "Goe on."

So Ritson and Mr. Collier's Ms. Corrector.-The folio has "so."-Capell printed "sir;" which is also conjectured by Walker (Crit. Exam. &c. vol. ii. p. 258).

Was inserted, at Ritson's suggestion, by Steevens, who observes that it is "countenanced by the corresponding passage in the elder play;

'But soft; who's this that's coming here?""

So too Mr. Collier's Ms. Corrector.

The folio has "the."-Corrected in the second folio.

The folio has "whether."-Corrected in the second folio.

P. 169. (156)

"My name is call'd Vincentio;"

"My name is Pistol call'd,' King Henry V., act iv. sc. 1. But this is too Pistolian for Vincentio; and I cannot help thinking that Shakespeare wrote 'My name's Vincentio'." W. N. LETTSOM.

The folio has "from Padua, and here."-The preceding speech, as Mr. W. N. Lettsom remarks to me, shows that "is" has dropt out.

The folio has "Mistris."-Corrected in the second folio.

So quarto 1631.-The folio has “my old worshipfull old.”

An abbreviation of " concerns;" which is substituted in the second folio.

The folio has "yillaine."-In my former edition I expressed a strong suspicion that we ought to read here "villany," since presently Vincentio says, "I will in, to be revenged for this villany" (in the folio "villanie”); and I now find that Walker (Crit. Exam. &c. vol. ii. p. 45) approves of the alteration.

So the second folio.-The first folio has "at the last.".

I may notice here that this is addressed to Katharine: so in Antony and Cleopatra, act v. sc. 2, "sirrah Iras, go."

So Rowe.-The folio has "come."-Mr. Collier's Ms. Corrector reads " "gone."