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There is our captain: We'll follow him that's fled The thicket is befet, he cannot 'fcape.

1 OUT. Come, I must bring you to our captain's


Fear not; he bears an honourable mind,
And will not use a woman lawlessly.

SIL. O Valentine, this I endure for thee! [Exeunt.


Another part of the Foreft.


VAL. How ufe doth breed a habit in a man!
This fhadowy defert, unfrequented woods,
I better brook than flourishing peopled towns:
Here can I fit alone, unfeen of any,

And, to the nightingale's complaining notes,
Tune my diftreffes, and record my woes,'
O thou that doft inhabit in my breast,
Leave not the mansion fo long tenantless;
Left, growing ruinous, the building fall,
And leave no memory of what it was!*

3 ---record my woes.] To record anciently fignified to fing. So, in the Pilgrim, by Beaumont and Fletcher:


O fweet, fweet! how the birds record too!" Again, in a paftoral, by N. Breton, published in England's Helicon, 1614:

"Sweet Philomel, the bird that hath the heavenly throat, "Doth now, alas! not once afford recording of a note."

Again, in another Dittie, by Tho. Watson, ibid:

"Now birds record with harmonie."

Sir John Hawkins informs me, that to record is a term ftill used by bird-fanciers, to express the first essays of a bird in finging.

40 thou that doft inhabit in my breast, Leave not the mansion fo long tenantless;

Let, growing ruinous, the building fall,


And leave no memory of what it was!] It is hardly poffible to

Repair me with thy prefence, Silvia;

Thou gentle nymph, cherish thy forlorn fwain!What halloing, and what ftir, is this to-day? Thefe are my mates, that make their wills their law, Have fome unhappy paffenger in chace:

They love me well; yet I have much to do,

To keep them from uncivil outrages.

Withdraw thee, Valentine; who's this comes here?

[Steps afide.


PRO. Madam, this fervice I have done for you, (Though you refpect not aught your fervant doth,) To hazard life, and refcue you from him

That wou'd have forc'd your honour and your love.
Vouchsafe me, for my meed,' but one fair look;
A fmaller boon than this I cannot beg,

And lefs than this, I am fure, you cannot give.

VAL. How like a dream is this I fee and hear! Love, lend me patience to forbear a while. [Afide. SIL. O miferable, unhappy that I am!

PRO. Unhappy were you, madam, ere I came; But, by my coming, I have made you happy.

point out four lines, in any of the plays of Shakspeare, more remarkable for eafe and elegance. STEEVENS.

And leave no memory of what it was!] So, in Marlowe's Jew of Malta:

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"And leave no memory that e'er I was.” RITSON.

my meed,] i. e, reward. So, in Titus Andronicus:
thanks, to men

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"Of noble minds, is honourable moed." STEEVENS.

Again, in Gammer Gurton's Needle,' 1575:

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"O Chrift! that I were fure of it! in faith he should have

his mede."

See also Spenfer, and almost every writer of the times. REED.

SIL. By thy approach thou mak'st me most unhappy.

JUL. And me, when he approacheth to your [Afide.


SIL. Had I been seized by a hungry lion,
I would have been a breakfaft to the beast,
Rather than have falfe Proteus refcue me.
O, heaven be judge, how I love Valentine,
Whofe life's as tender to me as my foul;
And full as much (for more there cannot be,)
I do deteft falfe perjured Proteus:
Therefore be gone, folicit me no more.

PRO. What dangerous action, stood it next to death,
Would I not undergo for one calm look?
O, 'tis the curfe in love, and ftill approv'd,

When women cannot love where they are belov'd. SIL. When Proteus cannot love where he's belov'd.

Read over Julia's heart, thy first best love,

For whofe dear fake thou didst then rend thy faith Into a thousand oaths; and all thofe oaths Defcended into perjury, to love me.

Thou haft no faith left now, unless thou had'ft two, And that's far worfe than none; better have none Than plural faith, which is too much by one: Thou counterfeit to thy true friend!


Who refpects friend?


In love,

All men but Proteus.

PRO. Nay, if the gentle fpirit of moving words Can no way change you to a milder form,

I'll woo you like a foldier, at arms' end;

And love you 'gainst the nature of love, force you.

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and fill approv'd,] Approv'd is felt, experienced.


SIL. O heaven!


I'll force thee yield to my defire. VAL. Ruffiar, let go that rude uncivil touch; Thou friend of an ill fashion!



VAL. Thou common friend, that's without faith or love ;7

(For fuch is a friend now,) treacherous man!
Thou haft beguil'd my hopes; nought but mine eye
Could have perfuaded me: Now I dare not fay
I have one friend alive; thou would ft difprove me.
Who fhould be trusted now, when one's right hand3
Is perjur'd to the bofom? Proteus,

I am forry, I muft never truft thee more,

But count the world a ftranger for thy fake.

The private wound is deepeft:" O time, most curft!

'Mongft all foes, that a friend should be the worst!


that's without faith or love;] That's is perhaps here used, not for who is, but for id eft, that is to fay. MALONE. 8 Who Should be trusted now, when one's right hand.

now is wanting in the firft folio. STEEVENS.

The fecond folio, to complete the metre, reads:

The word

"Who fhall be trufted now when one's right hand,—”

The addition, like all thofe made in that copy, appears to have been merely arbitrary; and the modern word [own which was introduced by Sir T. Hanmer] is, in my opinion, more likely to have been the author's than the other. MALONE.

What! "all at one fell fwoop!" are they all arbitrary, when Mr. Malone has honoured fo many of them with a place in his text? Being completely fatisfied with the reading of the fecond folio, I have followed it. STEEVENS.

9 The private wound, &c.] I have a little mended the measure, The old edition, and all but Sir T. Hanmer's, read:

"The private wound is deepest: O time most accurs'd."


Deepest, highest, and other fimilar words, were fometimes used by the poets of Shakspeare's age as monofyllables.

PRO. My fhame and guilt confounds me.

Forgive me, Valentine: if hearty forrow
Be a fufficient ranfom for offence,

I tender it here; I do as truly fuffer,

As e'er I did commit.


Then I am paid;

And once again I do receive thee honeft:
Who by repentance is not fatisfy'd,

Is nor of heaven, nor earth; for these are pleas'd;
By penitence the eternal's wrath's appeas'd:-
And, that my love may appear plain and free,
All that was mine in Silvia, I give thee."

So, in our poet's 133d Sonnet:

"But flave to flavery my fweetest friend muft be." MALONE. Perhaps our author only wrote "Sweet," which the traufcriber, or printer, prolonged into the fuperlative" fweeteft." STEEVENS.

All, that was mine in Silvia, I give thee. ] It is (I think) very odd, to give up his miftrefs thus at once, without any reason alledged. But our author probably followed the ftories just as he found them in his novels as well as hiftories. POPE.

This paffage either hath been much fophifticated, or is one great proof that the main parts of this play did not proceed from Shakfpeare; for it is impoffible he could make Valentine act and speak fo much out of character, or give to Silvia fo unnatural a behaviour, as to take no notice of this flrange conceffion, if it had been made. HANMER.

Valentine, from seeing Silvia in the company of Proteus, might conceive fhe had escaped with him from her father's court, for the purposes of love, though fhe could not foresee the violence which his villainy might offer, after he had feduced her under the pretence of an honeft paffion. If Valentine, however, be supposed to hear all that paffed between them in this fcene, I am afraid I have only to fubfcribe to the opinions of my predeceffors. STEEVens.

I give thee.] Transfer these two lines to the end of Thurio's speech in page 287, and all is right. Why then should Julia faint? It is only an artifice, feeing Silvia given up to Valentine, to difcover herself to Proteus, by a pretended miftake of the rings. One great fault of this play is the haftening too abruptly, and without due preparation, to the denouement, which fhews that, if it be Shakspeare's (which I cannot doubt,) it was one of his very carly performances. BLACKSTONE,

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