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pinch, when it produces the same visible effect. I belicve this is the reason why the cold is said to pinch.

Johnson. Cleopatra says of herself, “ I that am with Phæbus' pinches black."

STEEVENS. 440. weep a-good,] i. e, in good earnest. Tout de bon, Fr.

STEEVENS. So, in Marlowe's few of Malta, 1633:

" And therewithal their knees have rankled so, “ That I have laugh'd a-good.

MALONE. 466. I'll get me such a colour'd periwig.] It should be remembered, that false hair was worn by the ladies, long before wigs were in fashion. These false coverings, however, were called periwigs. So, in Northward Hoe, 1607: “ There is a new trade come up for cast gentlewomen, of perriunig-making : let your wife set up in the Strand."

Steevens. 468. her forehead's low ;] A high fore. head was in our author's time accounted a feature eminently beautiful. So, in The History of Guy of Warwick : Felice his lady is said to have the same high forehead as Venus.

JOHNSON. 470. respective) i. c. respeelfal, or respeelable.

STEEVENS. 476. My substance shall be statue in thy stead. ] This word is used without the article a in Massinger's Great Duke of Florence :

it was your beauty « That turn'd me statue."

And again, in Lord Surrey's translation of the 4th Æneid :

“. And Trojan statue throw into the flame." Again, in Dryden's Don Sebastian :

-try the virtue of that Gorgon face, * To stare me into statue."



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Tre enough.] Sure is safe, out of danger.


« Black men are pearls, &c.] So, in Heywood's Iron Age, 1632:

a black complexion " Is always precious in a woman's sye." Again, in Sir Gites Goosecap : " but to make every black slovenly 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 sentences. MALONE,

25. Jul. 'Tis true, &c.] This speech, which cera tainly belongs to Julia, is given in the old copy to Thurio. Mr. Rowe restored it to its proper ownere

STEEVENS, 41. That they are out by lease.] I suppose he means, because Thurio's folly has let them on disadvantage. ous terms.


on fac

fe, ont OHNSO eywood

: 91. -record my woes.] To record anciently sige f tbs! nified to sing. So, in The Pilgrim, by Beaumont and

Fletcher: me."

O sweet, sweet ! how the birds record

too ?” Again, in a pastoral, by N. Breton, published in TEEVD England's Helicon, 1614 :

“ Sweet philomel, the bird that hath the heavenly

“ 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 still used by bird-fanciers, to express the first
of a bird in singing.

STEEV ENS. 108. my meed-] 1. e. reward.

STEEVENS 128. O, 'tis the curse in love, and still approv’d.] Approv'd is felt, experienced.

MALONE. 156. Who should be trusted, when one's own right hand] The first copy has not own, which was intror duced into the text by Sir Thomas Hanmer...' The second folio, to complete the metre, reads : Who shall be trusted now, when one's: right hand, &c.

MALONE. 160. The private wound, &c.] I have a little mended the measure. The old edition, and all but Sir T. Hanmer, read,



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The private wound is deepest, ok time most accurst!

JOHNSON. 173. All, that was mine in Silvia, I give thee.] It is, I think, very odd to give up his mistress thus at once, without any reason alleged. But our author probably followed the stories just as he found then in his novels, as well as histories.

POPE. This passage either hath been much' sophisticated, or is one great proof that the main parts of this play did not proceed from Shakspere ; for it is impossible he could make Valentine act and speak so much out of character, or give to Silvia so unnatural a behavi. our, as to take no notice of this strange concession, if it had been made.

HANMER. Valentine, from seeing Silvia in the company of Protheus, might conceive she had escaped with Kim from her father's court, for the purposes of love, though she could not foresee the violence which his villany might offer, after he had seduced her under the pretences of an honest passion. If Valentine, however, be supposed to hear all that passed between them in this scene, I am afraid I have only to sub.. scribe to the opinions of my predecessors.

Steevens. 173

-1 give thee.] Transfer these two lines to the end of Thurio's speech in page 95, and all is right. Why then should Julia faint? It is only an artifice, seeing Silvia given up to Valentine, to diso Gover herself to Protheus, by a pretended mistake of the rings. One great fault of this play is the hasten.

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ing too abruptly, and without due preparation, to the denouëment, which shews that, if it be Shakspere's (which I cannot doubt), it was one of his very early performances.

BLACKSTONE, 194. How oft hast thou with perjury cleft the root?] Sir T. Hanmer reads, cleft the root on't. JOHNSON. 197 -if shame live] That is, if it be any

shame to wear a disguise for the purposes of love. JOHNSON.

the measure --] The length of my sword, the reach of my anger.

JOHNSON. Milan shall not behold thee. -] All the edi. tions, Verona shall not hold thee. But, whether through the mistake of the first editors, or the poet's own carelessness, this reading is absurdly faulty. For the threat here is to Thurio, who is a Milanese ; and has no concern, as it appears, with Verona. Besides, the scene is betwixt the confines of Milan and Mantua, to which Silvia follows Valentine, having heard that he had retreated thither. And, upon these circumstances, I ventured to adjust the text, as I imagine the poet must have intended; i. 6. Milan, thy country shall never see thee again : thou shalt never live to go back thither.

THEOBALD. 236. Should not this begin a new sentence ?

Plead is the same as plead thou. TYRWHITT. So I have printed it.

STEEvens. -include all jars] Sir Thomas Hanmer reads, conclude.

JOHNSON To include is to shut up, to conclude. So, in Macbeth:



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