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With other gentlemen of good esteem,
go: And, in good time, now will we break with him.s
PRO. Sweet love! fweet lines ! sweet life!
Ang. How now? what letterare you reading there?
two Of commendation sent from Valentine, Deliver'd by a friend that came from him.
Ant. Lend me the letter; let me see what news. Pro. There is no news, my lord; but that he writes How happily he lives, how well belov'd, And daily graced by the emperor; Wishing me with him, partner of his fortune.
Ant. And how stand you affected to his wish?
4- in good time,] In good time was the old expression when something happened that suited the thing in hand, as the French fay, à propos. JOHNSON. So, in Richard III: “ And, in good time, here comes the sweating lord.”
STEEVENS. now will we break with him.] That is, break the matter to him. The fame phrase occurs in Much Ado about Nathing, Act I. fc. i. M. Mason.
Pro. As one relying on your lordship’s will, And not depending on his friendly wish.
Ant. My will is something sorted with his wish: Muse not that I thus suddenly proceed; For what I will, I will, and there an end. I am resolv'd, that thou shalt spend some time With Valentinus in the emperor's court; What maintenance he from his friends receives, Like exhibition thou shalt have from me. To-morrow be in readiness to go: Excuse it not, for I am peremptory.
Pro. My lord, I cannot be so soon provided ; Please you, deliberate a day or two.
, Ant. Look, what thou want'st, shall be sent after
[Exeunt Ant. and Pant. Pro. Thus have I shunn'd the fire, for fear of
burning; And drench'd me in the sea, where I am drown'd: I fear'd to thew my father Julia's letter, Left he should take exceptions to my love; And with the vantage of mine own excuse Hath he excepted most against my love. O, how this spring of love resembleth ?
6 Like exhibition -] i. e. allowance. So, in Othello :
“ Due reference of place and exhibition.” Again, in the Devil's Law Cafe, 1623: _ in his riot does far exceed the exhibition I allowed him."
STEEVENS. 70, how this spring of love resembleth - ] At the end of this verse there is wanting a fyllable, for the speech apparently ends in
The uncertain glory of an April day; Which now shows all the beauty of the sun,
And by and by a cloud takes all away!
a quatrain. I find nothing that will rhyme to fun, and therefore Thall leave it to some happier critic. But I suspect that the author might write thus :
“ O how this spring of love resembleth right,
“ The uncertain glory of an April day ;
!" Light was either by negligence or affectation changed to fun, which, considered without the rhyme, is indeed better. The next transcriber, finding that the word right did not rhyme to fun, fupposed it erroneously written, and left it out. JOHNSON.
It was not always the custom, among our early writers, to make the first and third lines rhyme to each other; and when a word was not long enough to complete the measure, they occasionally extended it. Thus Spenser, in his Faery Queen, B. III. c. 12 :
Formerly grounded, and fast fetteled.”
“ The while sweet Zephirus loud whifteled
“ Which Guyon's senses softly tickeled," &c. From this practice, I suppose, our author wrote resembeleth, which, though it affords no jingle, completes the verse. Many poems have been written in this measure, where the second and fourth lines only rhime. Steevens.
Refembleth is here used as a quadrifyllable, as if it was written Telembeleth. See Comedy of Errors, Act V. sc. the last:
“ And these two Dromios, one in femblance." like it, Act II. sc. ii:
“ The parts and graces of the wrestler." And it should be observed, that Shakspeare takes the same liberty with many other words, in which , or r, is subjoined to another confonant. See Comedy of Errors, next verse but one to that cited above :
“ These are the parents to these children.”. where some editors, being unnecessarily alarmed for the metre, have endeavoured to help it by a word of their own : “ Thefe plainly are the parents to these children.”
TYRWHITT. Thus much I had thought sufficient to say upon this point, in the edition of these plays published by Ms. Steevens in 1778.
Pant. Sir Proteus, your father calls for
you; He is in haste, therefore, I pray you, go.
Since which the Author of Remarks, &c. on that edition has been pleased to affert, p: 7. " that Shakspeare does not appear, from the above instances at leaft, to have taken the smallest liberty in extending his words: neither has the incident of l, or r, being subjoined to another consonant any thing to do in the matter." “ The truth is,” he goes on to fay, “ that every verb in the English language gains an additional syllable by its termination in eff, eth, ed, ing, or, (when formed into à fubftantive) in er; and the above words, when rightly printed, are not only unexceptionable, but most juft. Thus resemble makes resemble-eth; wreftle, wrefileer; and settle, whistle, tickle, make settle-ed, whifle-ed, tickle-ed."
As to this supposed Canon of the English language, it would be easy to shew that it is quite fanciful and unfounded ; and what he calls the right method of printing the above words is such as, I believe, was never adopted before by any mortal in writing them, nor can be followed in the pronunciation of them without the help of an entirely new system of spelling. But any further discussion of this matter is unnecessary; because the hypothesis, though allowed in its utmost extent, will not prove either of the points to which it is applied. It will neither prove that Shakspeare has not taken a liberty in extending certain words, nor that he has not taken that liberty chiefly with words in which I, or 7, is subjoined to another consonant. The following are all instances of nouns, substantive or adjective, which can receive no support from the supposed Canon. That Shakspeare has taken a liberty in extending these words is evident, from the consideration, that the same words are more frequently used, by his contemporaries and by himself, without the additional fyllable. Why he has taken this liberty chiefly with words in which I, or r, is subjoined to another consonant, must be obvious to any one who can pronounce the language.
both. Angry, trysyllable. Timon. Act III. sc. v, But who is man, that is not angry,
Pro. Why, this it is! my heart accords thereto; And yet a thousand times it answers, no. (Exeunt.
A CT II.
Milan. An Apartment in the Duke's Palace.
Enter VALENTINE and Speed.
Speed. Sir, your glove.
but one. Val. Ha ! let me see: ay, give it me, it's mine:
Henry, trifyllable. Rich. III. A II. sc. iii. So ftood the state, when Henry the Sixth 2 H. VI. A& II. sc. ii. Crown’d by the name of Henry the Fourth. And so in many other passages.
Monstrous, trisyllable. Macb. Act'IV. sc. vi. Who cannot want the thought how monstrouse Othello. A&t II. sc. iii. "Tis monstrous. Iago, who began it?
Afsembly, quadrisyllable. M. A. A. N. AŠ V. sc. last. Good morrow to this fair asembly.
Douglas, trifyllable. 1 H. IV. X V. sc. ii. Lord Douglas go you and tell him fo.
England, trifyllable. Rich. II. A& IV. sc. i. Than Bolingbrooke return to England.
Humbler, trisyllable. 1 H. VI. AA III. sc. i. Methinks his lordship should be humbler.
Nobler, trisyllable. Coriol. Act III. sc. ii. You do the nobler. Cor. I muse my mother
TYRWHITT. & Val. Not mine; my gloves are on.
Speed. Why then, this may be yours, for this is but one.] It should seem from this passage, that the word one was anciently pronounced as if it were written on. The quibble here is loft by the change of pronunciation; a loss, however, which may be very patiently endured. MALONE.