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it must be to resemble the copy of a picture, will be easily diftinguished. Copies are known from originals, even when the painter copies his own picture; so, if an author should literally translate his work, he would lose the manner of an original.

Mr. Upton confounds the copy of a picture with the imitation of a painter's manner. Copies are easily known; but good imitations are not detected with equal certainty, and are, by the best judges, often miftaken. Nor is it true that the writer has always peculiarities equally diftinguishable with those of the painter. The peculiar manner of each arises from the desire, natural to every performer, of facilitating his subsequent work by recurrence to his former ideas ; this recurrence produces that repetition which is called habit. The painter, whose work is partly intellectual and partly manual, has habits of the mind, the eye, and the hand; the writer has only habits of the mind. Yet, some painters have differed as much from themselves as from any other; and I have been told, that there is little resemblance between the first works of Raphael and the last. The same variation may be expected in writers; and if it be true, as it seems, that they are less subject to habit, the difference between their works may be yet greater.

But by the internal marks of a composition we may discover the author with probability, though seldom with certainty. When I read this play, I cannot but think that I find, both in the serious and ludicrous scenes, the language and sentiments of Shakspeare. It is not indeed one of his most powerful effufions ; it has neither many diversities of character, nor striking delineations of life; but it abounds in yapar beyond moft of his plays, and few have more lines or passages, which, fingly confidered, are eminently beautiful. I am yet inclined to believe that it was not very successful, and fuspect that it has escaped corruption, only because, being feldom played, it was less exposed to the hazards of tranfcription. JOHNSON.

This Comedy, I believe, was written in 1595. See An Attempo to ascertain the order of Shakspeare's Plays, Vol. 1. MALONE.

Persons represented.


Duke of Milan, father to Silvia.

} Gentlemen of Verona.
Antonio, father to Proteus.
Thurio, a foolish rival to Valentine.
Eglamour, agent for Silvia in ber escape.
Speed, a clownis servant to Valentine.
Launce, servant to Proteus.
Panthino, servant to Antonio.
Hof, where Julia lodges in Milan.
Julia, a lady of Verona, beloved by Proteus.
Silvia, the duke's daughter, beloved by Valentine.
Lucetta, waiting-woman to Julia.

Servants, musicians. SCENE, sometimes in Verona ; Sometimes in Milan;

and on the frontiers of Mantua.

Proteus,] The old copy has-Protheus; but this is merely the antiquated mode of spelling Proteus. Shakspeare's character was so called, from his disposition to change. STEEVENS.

Panthino,] In the enumeration of characters in the old copy, this attendant on Antonio is called Panthion, but in the play, always Panthing. STEEVENS.

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Enter VALENTINE and Proteus, VAL. Cease to persuade, my loving Proteus ; Home-keeping youth have ever homely wits : * Wer't not, affection chains thy tender days To the sweet glances of thy honour'd love, I rather would entreat thy company, To see the wonders of the world abroad, Than, living dully Nuggardiz'd at home, Wear out thy youth with shapeless idleness.s But, since thou lov'st, love still, and thrive therein, Even as I would, when I to love begin.

Pro. Wilt thou be gone? Sweet Valentine, adieu ! Think on thy Proteus, when thou, haply, seest Some rare note-worthy object in thy travel :

4 Home-keeping youth have ever homely wits :] Milton has the same play on words, in his Masque at Ludlow Cale:

It is for homely features to keep home,

They had their name thence.”' STEEVENS. Sloapeless idleness.] The expression is fine, as implying that idleness prevents the giving any form or character to the man. ners, WARBURTON.

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Pro. So, by your circumstance, you call me fool. VAL. So, by your circumstance, I fear, you'll prove. Pro. 'Tis love you cavil at; I am not Love.

VAL. Love is your master, for he masters you; And he that is so yoked by a fool, Methinks should not be chronicled for wise.

Pro. Yet writers say, As in the fweetest bud The eating canker dwells,” fo eating love Inhabits in the finest wits of all.

Val. And writers say, As the most forward bud Is eaten by the canker ere it blow, Even so by love the young and tender wit Is turn'd to folly; blasting in the bud, Losing his verdure even in the prime, And all the fair effects of future hopes. But wherefore waste I time to counsel thee, That art a votary to fond defire? Once more adieu: my father at the road Expects my coming, there to see me shipp'd.

Pro. And thither will I bring thee, Valentine. VAL. Sweet Proteus, no; now let us take our

leave. At Milan, let me hear from thee by letters,


in the loss of your wit, which will be overpowered by the folly of love, JOHNSON.

As in the sweeteft bud The eating canker druells,] So, in our author's 70th Sonnet : For canker vice the sweetest buds doth love."

MALONE. 8 At Milan,] The old copy has To Milan. The emendation was made by the editor of the second folio. The firft copy

however may be right. To Milan"-may here be intended as an imperfect sentence. I am now bound for Milan.

Or the construction intended may have been-Let me hear from thee by letters to Milan, i, e, addressed to me there.


Of thy success in love, and what news else
Betideth here in absence of thy friend;
And I likewise will visit thee with mine.

Pro. All happiness bechance to thee in Milan!
Val. As much to you at home! and so, farewell!

[Exit VALENTINE. Pro. He after honour hunts, I after love: He leaves his friends, to dignify them more; I leave myself, my friends, and all for love. Thou, Julia, thou hast metamorphos'd me; Made me neglect my studies, lose my time, War with good counsel, set the world at nought; Made wit with musing weak, heart fick with


Enter Speed."

SPEED. Sir Proteus, fave you : Saw you my ma

fter? Pro. But now he parted hence, to embark for


Made wit with musing weak,] For made read make. Thou Julia, bast made me war with good counfel, and make wit weak with musing. Johnson.

Surely there is no need of emendation. It is Julia, who “ has already made wit weak with musing," &c. STEVENS.

This whole scene, like many others in these plays (some of which I believe were written by Shakspeare, and others interpolated by the players) is composed of the lowest and most trifling conceits, to be accounted for only from the gross taste of the age he lived in ; Populo ut placerent. I wish I had authority to leave them out; but I have done all I could, fet a mark of reprobation upon them throughout this edition. Pope.

That this, like many other scenes, is mean and vulgar, will be universally allowed; but that it was interpolated by the players seems advanced without any proof, only to give a greater licence to criticism. JOHNSON.

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