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Milton (P. L. vii. 448): "Ev'ning and morn solémniz'd the fifth day." In M. of V. ii. 9, K. John, ii. 2, and 1 Hen. VI. v. 3, the only other instances in which S. uses the word in verse, it is "sólemniz'd." Abbott shows (Gr. 491) that this peculiarity of accent is found in other words ending in -ized, as advertized, canónized, authorized, etc.

I'll deliver all. I'll relate all. Cf. Ham. v. 2: "All this can I truly deliver;" Oth. ii. 3: "deliver more or less than truth," etc.

Please you. If it please you. See Gr. 361, and Mer. pp. 134, 136.

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It is well known that the Prologues and Epilogues of the English Drama are generally written by other persons than the authors of the plays, and White with good reason thinks that this Epilogue, though printed in the folio, bears internal evidence of being no exception to the rule. The thoughts are "poor and commonplace," and the rhythm is "miserable and eminently un-Shakespearian." It is apparently from the same pen as the Epilogue to Henry VIII.—“ possibly Ben Jonson's, whose verses they much resemble." The Epilogue to the Second Part of Henry IV. is another that is evidently not Shakespeare's; and it is a significant fact that, in the folio, these three Epilogues "are plainly pointed out as separate performances." "For in these plays the characters are all sent off the stage by the direction Exeunt, and the Epilogue is set forth as something apart from the play, being, in one case, separated from it by a single rule, in another by double rules, and in the third being printed on a page by itself, while in the other plays the Exeunt or Exit is not directed until after the Epilogue, which is included within the single borderrule of the page, no separation of any kind being made." A comparison of the various Epilogues shows that "this arrangement has no reference to the personage by whom the Epilogue is to be spoken;" and, as no other explanation of it can be given, it is probable that the editors of the folio meant thus to indicate that the Epilogues are not Shakespeare's.


With the help of your good hands. By your applause, by clapping hands" (Johnson). Noise was supposed to dissolve a spell. Cf. above (iv. 1): "hush! be mute; Or else our spell is marr'd."

Unless I be reliev'd by prayer. "This alludes to the old stories told of the despair of necromancers in their last moments, and of the efficacy of the prayers of their friends for them" (Warburton). Jephson thinks it may be an allusion to "the custom, prevalent in S.'s time, of concluding the play by a prayer, offered up kneeling, for the sovereign."

Mercy itself. The divine Mercy.

Frees all faults. Frees from all faults. See Gr. 200.

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abuse, 140.

aches, 119, 132.

adventure (=venture), 125.

afeard, 129.

afore, 128.

again, 120.

amain, 136.

apace, 140.

an (=if), 125.

Argier, 118.

as (omitted), 114, 125.
as (redundant), 113.
aspersion, 134..
attach (attack), 132.
avoid (begone), 137.

badge, 143.
barnacle, 138.
bass (verb), 134.
bate, 118.
bat-fowling, 125.
be (are), 127.
Bermoothes, 117.
best (thou'rt), 119.
betid, 112.
bombard, 128.
bosky, 136.

brave (fine), 121.
busiless, 130.

but (except that), 121.
but (otherwise than), 115.

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fall (transitive), 127, 140.
fear (reflexive), 143.
fearful, 122.
feat, 120, 127.
featly, 120.
fellow, 131.
few (in), 115.
flatling, 125.
flat-long, 125.
flote, 117.
foison, 125.
for (against), 111.
for (as for), 117.
for (because), 118.
forth-right, 132.
fraughting, 112.

free (to free from), 145.
fresh (noun), 131.
frippery, 138.

from (=away from), 113.
full, 112.

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