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Subtle as sphinx'; as sweer and musical
As bright Apollo's lure, strung with his hair:S
And, when love speaks, the voice of all the Gods?
Makes heaven drowly with the harmony. i


the trees, but in attacking the dragon gardant. I rather think, that for valour we should read favour, and the poet meant, that Hercules was allured by the odour and fragrancy of the golden apples. THEOBALD.

6 As bright Apollo's lute, ftrung with his hair:) This expreslion. like that other in the Two Gentlemen of Verona, of

Orph us' harp was firung with poet's finews, is extremely beautiful, and highly figurative. Apollo, as the sun, is represented with golden hair; so that a lote ftrung with his hair, means no more than ftrung with gilded wire.

WARBURTON. How much more sublime is the imagination of our poet, which represents that instrument as strong with the sun-beams, which in poetry are called Apollo's hair. REVISAL.

? And when love speaks the voice of all the Gods:

Makes beaven drowly with the barmony!]
This nonsense we should read and point thus,

And when love speaks the voice of all the Gods,

Mark, heaven drowsie with the barmony. i. e, in the voice of love alone is included the voice of all the Gods. Alluding to that ancient Theogony, that Love was the parent and support of all the Gods. Hence, as Suidas teils us, Palaphatus wrote a poem called, "Adecostas ng pulu ar aj nás. The voice and speech of Venus and Love, which appears to have been a kind of cosmogony, the harmony of which is so great, that it calms and allays all kinds of disorders; alluding again to the antient use of music, which was to compose monarchs, when, by reason of the cares of empire, they used to pafs whole nights in reitless inquietude. WARBURTON. The ancient reading is, Make heavin

Johnsoy. I cannot find any reason for this emendation, nor do I believe the poet to have been at all acquainted with that ancient theogony mentioned by the critic. The former reading, with the flight ad. dition of a fingle letter, was, perhaps, the true one. When Love Speaks, (fay's Biron) be ajimbled Gods redute ibe element of tbefly to A calm, by obeir barmonious applauses of this favoured oralor.


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Never durft poet touch a pen to write,
Until his ink were temper'd with love's sighs ;
o, then his lines would ravish favage ears,
And plant in tyrants mild humility.
From womens' eyes this doctrine I derive: 8

A very ingenious friend observes, that the meaning of the pas. sage may be this.-T bat the voice of all obe God's united, coul.l inspire only drowknis, when compared with the chearfuleffects of the voice of Love. That sense is sufficiently congruous with the rest of the speech.

Dr. Warburton has raised the idea of his author, by imputing to him a knowledge, of which, I believe, he was not postessed; but should either of these explanations prove the true one, I Mall offer no apology for having made him stoop from the critic's ele. vation. I would, however, read,

Makes beaven drowsy wirbits harmony. Though the words mark and bebold are alike used to bespeak or summon attention, yet the former of them appears so harsh in Dr. Warburton's emendation, that I read the line several times over before I perceived its meaning. To speak the voice of the Gods appears to me as defective in the same way. Dr. Warburton, in a note on All's well that Ends well, observes, that to speak a found is a barbarism. To speak a voice is, I think, not less reprehenfible.

STEEVENS. Few passages have been more canvassed than this. I believe, it wants no alteration of the words, but only of the pointing.

And when love spcaks (the voice of all) ibe Gods

Make beaven drowsy with ibe barmony. Love, I apprehend, is called the voice of all, as gold, in Timon, is faid to speak with every tongue ; and the Gods (being drowsy them. selves wirb the barmony) are supposed to make heaven drowsy. If one could possibly suspect Shakespeare of having read Pindar, one Mould say, that the idea of music making the hearers drowsy, was borrowed from the firit Pythian. T, T.

* From womens' eyes this doctrine I derive:] In this speech I sur. peet a more than common initance of the inaccuracy of the first publishers.

From womens' eyes this do&rine I derive, and several other lines are as unnecessarily repeated. Dr. Warburton was aware of this, and omitted two ve: fes, which Dr. Johnfon has fince inserted. Perhaps the players printed it from piece-meal parts, or retained what the author had rejected, as well as what had ondergone his revisal. It is bere given according to the regulation of the old copies. Steev. NS.


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They sparkle still the right Promethean fire,
They are the books, the arts, the academes,
That shew, contain, and nourish all the world ;
Else none at all in aught proves excellent.
Then fools you were, these women to forfwear :
Or, keeping what is sworn, you will prove fools.
For wisdom's fake, a word, that all men love ;
Or for love's fake, a word, that loves all men ; ?
Or for men's fake, the author of these women;
Or women's fake, by whom we men are men ;
Let us once lose our oaths, to find ourselves,
Or else we lose ourselves, to keep our oaths.
It is religion, to be thus forsworn :
For charity itself fulfils the law;
And who can sever love from charity ?
King. Saint Cupid, then! and, foldiers, to the

field ! Biron. Advance your standards, and upon them,

lords; Pell-mell, down with them ! but be first advis'd, In conflict that you get the sun of them. Long. Now to plain-dealing ;-lay these glozes

byShall we resolve to woo these girls of France ?

King. And win them too : therefore let us devise Some entertainment for them in their cents.

a word, that loves all men ;) We should read,

-a word all women love. The following line,

Or for min's sake (the author of these zwomen ;) which refers to this reading, puts it out of all question.

WARBURTON. Perhaps we might read thus, transposing the lines,

Or for love's Jake, a word that loves all men ;
For women's Jake, by whom we men are men;

Or for men's jake, the authours of these women. The antithesis of a v'ord that all men love, and a word which loves all men, though in itself worih little, has much of the spirit of this play. JOHNSON.

Biron. First, from the park let us conduct them

Then, homeward, every man attach the hand
Of his fair mistress : in the afternoon
We will with some strange pastime solace then,
Such as the shortness of the time can shape :
For revels, dances, masks, and merry hours,
Forerun fair love, strewing her way with flowers.

King. Away, away! no time shall be omitted,
That will be time, and may by us be fitted.
Biron. Allons ! allons !--Sow'd cockle reap'd no

corn; And justice always whirls in equal measure : Light wenches may prove plagues to men forsworn ;

If so, our copper buys no better treasure."[Exeunt.





Enter Holofernes, Nathaniel, and Dull.

HOLOFERNES. SATIS quod fufficit.

Nath. I praise God for you, Sir : your reasons at dinner have been sharp and sententious ;; pleasant

with-fown cockle reap'd no corn;] This proverbial expresfion intimates, that beginning with perjury, they can expect to reap nothing but falfhood. The following lines lead us to this sense.

WARBURTON. ? If so, our copper buys no better treasure.) Here Mr. Theobald ends the third act. Johnson.

3 Y-ur reasons at dinner have been, &c.] I know not well what degree of respect Shakespeare intends to obtain for this vicar, but he has here put into his mouth a finished representation of colloquial excellence. It is very difficult to add any thing to this character of the school-nafter's table-talk, and perhaps all the pre


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without scurrility, witty without affection", audacious without impudency, learned without opinion, and strange without heresy. I did converse this quondam day with a companion of the king's, who is intituled, nominated, or called, Don Adriano de Armado.

Hol. Novi kominem tanquam te. His humour is lofty, his discourse peremptory, his tongue filed, his eye ambitious, his gait majestical, and his general behaviour vain, ridiculous, and thrasonical.

3 He is too picked, too spruce, too affected, too odd, as it were ; too peregrinate, as I may call it. Nath. A most singular and choice epithet.

[Draws out his table book, Hol. He draweth out the thread of his verbosity finer than the staple of his argument. I abhor such

cepts of Castiglione will scarcely be found to comprehend a rule for conversation fo juftly delineated, so widely dilated, and so nicely limited.

It may be proper just to note, that reason here, and in many other places, fignifies discourse ; and that audacious is used in a good sense for spirited, animated, confident. Opinion is the same with obstinacy or opiniatreté. JOHNSON.

* wirbout affection,] i. e. without affectation. So in Hamlet,-« No matter that might indite the author of affection.So in Twelfth Night, Malvolio is call’d“ an affection'd ass." STEEVENS.

4 He is ton piqued,] To have the beard piqued or shorn so as to end in a point, was, in our authour's time, a mark of a traveller affe&ting foreign fashions : so says the Bastard in K. John,

- I catecbife My piqued man of countries. Johnson. See the note on King John, where the reader will find the epithet piqued differently interpreted.

Piqued may allude to the length of the does then worn. Bul. wer, in his Artificial Changeling, says, "We weare our forked shoes almost as long again as our feete, pot a little to the hindrance of the action of the foote, and not only so, but they prove an impediment to reverentiall devotions, for our bootes and Mooes are fo long snooted, that we can hardly kneele in God's house. STEEVENS. See B. Jonson's Discoveries, vol. vii. p. 116, too much pickedness is not manly.” T.T.


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