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I'll use thee kindly for thy mistress' fake,
That us'd me fo; or elfe, by Jove I vow,
I fhould have fcratch'd out your unfeeing eyes,'
To make my mafter out of love with thee. [Exit.

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the word ftatue was formerly ufed to exprefs a portrait. Julia is here addreffing herself to a picture; and in the City Madam, the young ladies are fuppofed to take leave of the ftatues of their lovers, as they style them, though Sir John, at the beginning of the fcene, calls them pictures, and defcribes them afterwards as nothing but fuperficies, colours, and no substance. M. MASON.

ftatue-] Statue here, I think, fhould be written ftatua, and pronounced as it generally, if not always, was in our author's time, a word of three fyllables. It being the first time this word occurs, I take the opportunity of obferving that alterations have been often improperly made in the text of Shakspeare, by fuppofing ftatue to be intended by him for a diffyllable. Thus in King Richard III. A& III. fc. vii:

"But like dumb ftatues, or breathing ftones." Mr. Rowe has unneceffarily changed breathing to unbreathing, for a fuppofed defect in the metre, to an actual violation of the fense.

Again, in Julius Cæfar, A& II. fc. ii:

"She dreamt to-night fhe faw my ftatue."

Here, to fill up the line, Mr. Capell adds the name of Decius, and the last editor, deferting his ufual caution, has improperly changed the regulation of the whole paffage.

Again, in the fame play, A& III. fc. ii:

Even at the bafe of Pompey's ftatue."

In this line, however, the true mode of pronouncing the word is fuggefted by the laft editor, who quotes a very fufficient authority for his conje&ure. From authors of the times it would not be difficult to fill whole pages with inftances to prove that flatue was at that period a trifyllable. Many authors fpell it in that manner. On fo clear a point the first proof which occurs is enough. Take the following from Bacon's Advancement of Learning, 4to. 1633: It is not poffible to have the true pictures or ftatuaes of Cyrus, Alexander, Cæfar, no nor of the kings or great perfonages of much later years," &c. p. 88. Again, -without which the hiftory of the world feemeth to be as the Statua of Polyphemus with his eye out," &c.

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REED.

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-your unfeeing eyes,] So, in Macbeth :

"Thou haft no speculation in those eyes-." STEEVENS.

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EGL. The fun begins to gild the western fky; And now it is about the very hour

That Silvia, at Patrick's cell fhould meet me.3
She will not fail; for lovers break not hours,
Unless it be to come before their time;
So much they fpur their expedition.

Enter SILVIA.

See, where fhe comes: Lady a happy evening.
SIL. Amen, amen! go on, good Eglamour,
Out at the postern by the abbey-wall;

I fear, I am attended by some spies.

EGL. Fear not: the foreft is not three leagues off: If we recover that, we are fure enough." [Exeunt.

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The fame. An Apartment in the Duke's Palace.

Enter THURIO, PROTEUS, and JULIA.

THU. Sir Proteus, what fays Silvia to my fuit? PRO. O, fir, I find her milder than fhe was; And yet fhe takes exceptions at your perfon. THU. What, that my leg is too long?

PRO. No; that it is too little.

3 That Silvia, at Patrick's cell, fhould meet me.] The old copy redundantly reads: "friar Patrick's cell—”. But the omiffion of this title is juflified by a paffage in the next fcene, where the Duke fays — “ At Patrick's cell this even; and there she was not.” STEEVENS.

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fure enough.] Sure is fafe, out of danger. JOHNSON.

THU.I'll wear a boot, to make it fomewhat rounder. PRO. But love will not be fpurr'd to what it loathsTHU. What fays fhe to my face?

PRO. She fays, it is a fair one.

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THU. Nay, then the wanton lies; my face is black. PRO. But pearls are fair; and the old saying is, Black men are pearls in beauteous ladies' eyes. JUL. 'Tis true, fuch pearls as put out ladies' eyes; For I had rather wink than look on them. [Afide. THU. How likes fhe my difcourfe?

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PRO. Ill, when you talk of war.

THU: But well, when I difcourfe of love, and peace. JUL. But better, indeed, when you hold your peace.

THU. What fays fhe to my valour?

[Afide.

PRO. O, fir, fhe makes no doubt of that,

JUL. She needs not, when she knows it cowardice.

[Afide.

THU. What fays fhe to my birth?

PRO. That you are well deriy'd.

JUL. True; from a gentleman to a fool.

[Afide.

THU. Confiders fhe my poffeffions?

5 Black men are pearls &c.] So, in Heywood's Iron Age,

1632:

a black complexion

"Is always precious in a woman's eye."

Again, in Sir Giles Goofecap:

but to make every black flovenly cloud a pearl in her eye."

STEEVENS.

"A black man is a jewel in a fair woman's eye," is one of Ray's proverbial fentences. MALONE.

6 Jul. 'Tis true, &c.] This fpeech, which certainly belongs to Julia, is given in the old copy to Thurio. Mr. Rowe reftored it to its proper owner. STEEVENS.

PRO. O, ay; and pities them.

THU. Wherefore?

JUL. That fuch an afs fhould owe them. [Afide. PRO. That they are out by leafe.'

JUL. Here comes the duke.

Enter DUKE..

DUKE. How now, fir Proteus? how now, Thurio? Which of you faw fir Eglamour of late?

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DUKE. Why, then fhe's fled unto that peasant

Valentine;

And Eglamour is in her company.

'Tis true; for friar Laurence met them both,
As he in penance wander'd through the foreft:
Him he knew well, and guefs'd that it was fhe;
But, being mafk'd, he was not sure of it:
Befides, fhe did intend confeffion-

At Patrick's cell this even; and there fhe was not:

7 That they are out by leafe.] I fuppofe he means, becaufe Thurio's folly has let them on disadvantageous terms. STEEVENS. She pities Sir Thurio's poffeffions, because they are let to others, and are not in his own dear hands. This appears to me to be the meaning of it. M. MASON.

"By Thurio's poffeffions, he himself understands his lands and eftate. But Proteus choofes to take the word likewife in a figurative sense, as fignifying his mental endowments: and when he fays they are out by leafe, he means they are no longer enjoyed by their mafter (who is a fool,) but are leafed out to another." Edinburgh Magazine, Nov. 1786. STEEVENS.

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Sir Eglamour -] Sir, which is not in the old copy, was inferted by the editor of the fecond folio. MALONE.

Thefe likelihoods confirm her flight from hence.
Therefore, I pray you, stand not to discourse,
But mount you presently; and meet with me
Upon the rising of the mountain-foot

That leads toward Mantua, whither they are fled;
Difpatch, fweet gentlemen, and follow me. [Exit.
THU. Why, this it is to be a peevish girl,"
That flies her fortune when it follows her:
I'll after; more to be reveng'd on Eglamour,
Than for the love of reckless Silvia.2

[Exit.

PRO. And I will follow, more for Silvia' love, Than hate of Eglamour that goes with her. [Exit. JUL. And I will follow, more to cross that love, Than hate for Silvia, that is gone for love. [Exit.

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OUT. Come, come;

Be patient, we must bring you to our captain.
SIL. A thousand more mifchances than this.one
Have learn'd me how to brook this patiently.
2 OUT. Come, bring her away.

1 OUT. Where is the gentleman that was with her? 3 OUT. Being nimble-footed, he hath out-run us, 'But Moyfes, and Valerius, follow him.

Go thou with her to the weft end of the wood,

9a peevish girl,] Peevish, in ancient language, fignifies foolish. So, in King Henry VI. P. I:

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"To fend fuch peevish tokens to a king." STEEVENS.
recklefs Silvia.] i. e. carelefs, heedlefs.
-like a puff'd and reckless libertine."

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So, in Hamlet: STEEVENS.

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