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Which I so lively acted with my tears,
Sil. She is beholden to thee, gentle youth !-
[Exit Silvia Jul. And she shall thank you for’t, if e'er you
« Quid me defertis perituram, Liber, arenis
“ Servabas? potui dedoluisse semel.-
Ovid. Faft. 1. üü. v. 465. In this picture he appears as if just returned from India, bringing with him his new favourite, who hangs on his arm, and whole presence only causes those emotions fo visible in the countenance of Ariadne, who had been hitherto represented on this occasion :
as passioning “ For Theseus' perjury and unjust flight.” From this painting a plate was engraved by Giacomo Freij, which is generally a companion to the Aurora of the fame master. The print is fo common, that the curious may easily satisfy themselves concerning the propriety of a remark which has intruded itself among the notes on Shakspeare.
To passion is used as a verb, by writers contemporary with Shakspeare. In The Blind Beggar of Alexandria, printed 1598, we meet with the same expression :
what, art thou paffioning over the picture of Cleanthes ?" Again, in Eliofto Libidinoso, a novel, by John Hinde, 1606:
if thou gaze on a picture, thou must, with Pigmalion, be passionate." Again, in Spenser's Faery Queen, B. III. c. 2:
“ Some argument of matter paffioned." STEEVENS.
Diffolves to water, and doth lose his form.
Pro. Gone, my good lord.
Duke. So I believe; but Thurio thinks not so.--
Pro. Longer than I prove loyal to your grace, Let me not live to look upon your grace.
Duke. Thou know'st, how willingly I would effect The match between fir Thurio and my daughter. PRO. I do, my
lord. Duke. And also, I think, thou art not ignorant How she opposes her against my will.
Pro. She did, my lord, when Valentine was here. Duke. Ay, and perversely the persévers so. What might we do, to make the girl forget The love of Valentine, and love fir Thurio?
Pro. The best way is, to slander Valentine With falfhood, cowardice, and poor descent; Three things that women highly hold in hate.
Duke.Ay, but she'll think, that it is spoke in hate. Pro. Ay, if his enemy deliver it:
grievously.) So fome copies of the first folio; others have, heavily. The word therefore must have been corrected, while the sheet was working off at the prefs. The word last, p. 243, 1. 2. was inserted in some copies in the same m
Therefore it must, with circumstance, be spoken By one, whom she esteemeth as his friend.
Duke. Then you must undertake to slander him.
Pro. And that, my lord, I shall be loth to do:
Pro. You have prevail'd, my lord: if I can do it,
Thu. Therefore as you unwind her love' from him, Left it should ravel, and be good to none, You must provide to bottom it on me: Which must be done, by praising me as much As
you in worth dispraise fir Valentine. Duke. And, Proteus, we dare trust you in this
with circumstance,] With the addition of such incidental particulars as may induce belief. Johnson.
his very friend. Very is immediate. So, in Macbeth:
“ And the very ports they blow." STEEVENS. 9
-as you unwind her love- --] As you wind off her love from him, make me the bottom on which you wind it. The housewife's term for a ball of thread wound upon a central body, is a bottom of thread. JOHNSON,
So, in Grange's Garden, 1577, “ in answer to a letter written unto him by a Curtyzan :"
“ A bottome for your silke it seems
My letters are become,
« Are wasted whole and some." STEEVENS,
Because we know, on Valentine's report,
Pro. As much as I can do, I will effect :-
Duke. Ay, much the force of heaven-bred poesy.4
Pro. Say, that upon the altar of her beauty You sacrifice your tears, your sighs, your heart: Write, till your ink be dry; and with your tears Moift it again; and frame some feeling line, That may discover such integrity: For Orpheus' lute was strung with poets' sinews;
- you may temper her,] Mould her, like wax, to whatever shape you please. So, in King Henry IV. P. II: “ I have him already tempering between my finger and my thumb; and shortly will I seal with him.”
MALONE. 3 lime,] That is, birdlime. JOHNSON. * Ay, much the force of heaven-bred poesy:] The old copy reads
Ay, much is," &c. Ritson. S-fuch integrity :) Such integrity may mean fach ardour and fincerity as would be manifested by practising the directions given in the four preceding lines. STEVENS.
I suspect that a line following this has been loft; the import of which perhaps was
“ As her obdurate heart may penetrate.” MALONE. 6. For Orpheus'lute was Atrung with poets' finews ;] This shews Shakspeare's knowledge of
antiquity. He here assigns Orpheus his true character of legislator. For under that of a poet only, or
Whose golden touch'could soften steel and stones,
lover, the quality given to his lute is unintelligible. But, confidered as a lawgiver, the thought is noble, and the imagery exquifitely beautiful. For by his lute, is to be understood his system of laws; and by the poets' finews, the power of numbers, which Orpheus actually employed in those laws to make them received by a fierce and barbarous people. WARBURTON.
Proteus is describing to Thurio the powers of poetry; and gives no quality to the lute of Orpheus, but those usually and vulgarly ascribed to it. It would be strange indeed if, in order to prevail upon the ignorant and stupid Thurio to write a sonnet to his mistress, he should enlarge upon the legislative powers of Orpheus, which were nothing to the purpose. Warburton's observations frequently tend to prove Shakspeare more profound and learned than the occasion required, and to make the Poet of Nature the most unnatural that ever wrote. M. Mason.
-with some sweet concert:) The old copy has confert, which I once thought might have meant in our author's time band or company of musicians. So, in Romeo and Juliet:
“ Tyb. Mercutio, thou confort'A with Romeo.
“ Mer. Confort! what, dost thou make us minstrels?" The subsequent words, “ To their inftruments," seem to favour this interpretation; but other instances, that I have fince met with, in books of our author's age, have convinced me that confort was only the old spelling of concert, and I have accordingly printed the latter word in the text. The epithet seveet annexed to it, seems better adapted to the mufick itself than to the band. Comjeri, when accented on the first fyllable, (as here) had, I believe, the former meaning; when on the second, it fignified a company. So, in the next scene : • What fay'st thou ? Wilt thou be of our consórt ?"
Malone, 8 Tune a deploring dump;] A dump was the ancient term for a mournful elegy: STEEVENS.